I've had a period of drawing on canvas in black - with some of my early images coming thru -, think the non-objectivists will find them disturbing - and the kids who think it simple to splash a 'Pollock' out.
In response to the question, 'How do you know when you're finished?' Pollock replied, 'How do you know when you're finished making love?
Chaos can be structured as non-chaos. That we know from Jackson Pollock.
Pollock was terrific. I think he freed himself of all kinds of worry about this world. Ran around and dripped, and then he managed to express ecstasy.
Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.
I wanted my work to be seen for free in a public space, I want to be up there with Pollock and de Kooning, one of the big boys.
It's impossible in our postmodern era for anyone to be original - for anybody to do what Jackson Pollock did.
The significant element that is common to Rivera, Siqueros, Picasso, Pollock, Van Gogh and Frida Kahlo is the expression of pain.
I'm interested in Jackson Pollock's kind of art, where art is beautiful, but it's nothing, and yet it's incredible.
Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.
I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.
And that Newman wasn't, and yet to me Pollock is just as radical and unlike Expressionism as Newman.
I know the Pollock novel. Read it last year and liked it. Daniel Woodrell is awesome. I especially like the book Winter's Bone, and the film made from it. Larry Brown is terrific, all his work, but for me Joe in particular, also a good film, but a much better novel.
If the choice is between buying another building or a Pollock, I'd go for the Pollock every time.
I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.
The big shock of my life was Abstract Expressionism - Pollock, de Kooning, those guys. It changed my work. I was an academically trained student, and suddenly you could pour paint, smear it on, broom it on!
In the late 30s the name Pollock was totally unknown and unheard of.
Pollock looks unusual and radical even now.
It can be a work by Mondrian, a piece of music by Schönberg or Mozart, a painting by Leonardo, Barnett Newman or also Jackson Pollock. That's beautiful to me. But also nature. A person can be beautiful as well. And beauty is also defined as 'untouched'. Indeed, that's an ideal: that we humans are untouched and therefore beautiful.
As was the case in Requiem for a Dream, Pollock, A Beautiful Mind, House of Sand and Fog, The Hulk and Dark Water, Connelly's mere presence in a film guarantees that things will turn out badly for the male lead, as Connelly is always cast as the Angel of Death. Fun to hang out with, great eyes, amazing eyebrows, but the Angel of Death.
Somebody can paint with a fine brush like Monet and do millions of little dots or somebody can splatter it up there like Kandinsky or Jackson Pollock and go "Yep, that's art." That's okay.
Unfortunately, there was no Jackson Pollock of the camera.
I think there's a real problem if you're making a film - some people have done whether it be about Jackson Pollock or about Picasso - it's difficult for actors, because they have to impersonate a person whose image is very strong in our memories or in our consciousness. It's something that's very tricky, I think.
I love Francis Bacon. I just saw a great Jackson Pollock exhibit at the Dallas Museum when I was home for Thanksgiving.
To handle paint the way Pollock did, you need the muscularity of a ballet dancer.
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