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{{Infobox artist
| bgcolour = silver
| name = Jackson Pollock
| image = Namuth - Pollock.jpg
| imagesize =
| caption = Photographer [[Hans Namuth]] extensively documented Pollock's unique painting techniques.
| birth_name = Paul Jackson Pollock
| birth_date = {{birth date|1912|1|28|mf=y}}
| birth_place = [[Cody, Wyoming]], [[United States|U.S.]]
| death_date = {{death date and age|1956|8|11|1912|1|28|mf=y}}
| death_place = [[Springs, New York]], U.S.
| nationality = American
| field = [[Painting|Painter]]
| orientation =
| training = [[Art Students League of New York]]
| movement = [[Abstract expressionism]]
| works =
| patrons = [[Peggy Guggenheim]]
| influenced by = [[Thomas Hart Benton (painter)|Thomas Hart Benton]], [[Pablo Picasso]], [[Joan Miró]] <ref>[http://books.google.com/books?id=vNoX4iTHPs0C&pg=PA151&lpg=PA151&dq=pollock+influenced+by+picasso&source=bl&ots=GZTrtIiOrV&sig=o7QSZ3waIxaYoZoUNrePVEzz5Ho&hl=en&ei=V18bTeObEMGB8gaulOTsDQ&sa=X&oi=book_result&ct=result&resnum=7&ved=0CD4Q6AEwBjgK#v=onepage&q=pollock%20influenced%20by%20picasso&f=false Pepe Karmel, Kirk Varnedoe, '' Jackson Pollock, interviews, articles, and reviews''] Retrieved December 29, 2010</ref><ref>[http://www.cbsnews.com/stories/2007/01/18/sunday/main2371451.shtml CBS ''Sunday Morning''] Retrieved December 29, 2010</ref><ref>[http://books.google.com/books?id=IF2P-sLngmsC&pg=PA48&lpg=PA48&dq=pollock+influenced+by+picasso&source=bl&ots=RQ7BWbnnaX&sig=TAzIGl5sydHmuAfKxCDzHfeOexw&hl=en&ei=V14bTcELwvjwBoLwiLoO&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBgQ6AEwADgK#v=onepage&q=pollock%20influenced%20by%20picasso&f=false Leonhard Emmerling, ''Jackson Pollock 1912-1956''] Retrieved December 29, 2010</ref>
| influenced = [[Helen Frankenthaler]]}}
'''Paul Jackson Pollock''' (January 28, 1912 &ndash; August 11, 1956), known as '''Jackson Pollock''', was an influential American painter and a major figure in the [[abstract expressionism|abstract expressionist]] movement. He was well known for his uniquely defined style of [[drip painting]].

During his lifetime, Pollock enjoyed considerable fame and notoriety. He was regarded as a mostly reclusive artist. He had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist [[Lee Krasner]], who became an important influence on his career and on his legacy.<ref>Naifeh, Steven and Smith, Gregory White, ''Jackson Pollock: An American saga,'' p.503, Published by Clarkson N. Potter, Inc.1989, ISBN 0-517-56084-4</ref>

Pollock died at the age of 44 in an alcohol-related car accident. In December 1956, the year of his death, he was given a memorial retrospective exhibition at the [[Museum of Modern Art]] (MoMA) in [[New York City]], and a larger more comprehensive exhibition there in 1967. More recently, in 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The [[Tate]] in London.<ref>[[Kirk Varnedoe|Varnedoe, Kirk]] and Karmel, Pepe, ''Jackson Pollock'': Essays, Chronology, and Bibliography. Exhibition catalog, New York: [[The Museum of Modern Art]], ''Chronology'' pp. 315–329, 1998, ISBN 0-87070-069-3.</ref><ref>Horsley, Carter B., ''Mud Pies, Jackson Pollock, Museum of Modern Art, November 1, 1998 to February 2, 1999, The Tate Gallery, London March 11 to June 6, 1999'' [http://www.thecityreview.com/pollock.html ''While it is de rigueur to concentrate on the [[Signature artwork|signature works]] that define an artist’s "style," it is very important to understand its evolution...'']</ref>

In 2000, Pollock was the subject of an Academy Award–winning film [[Pollock (film)|''Pollock'']] directed by and starring [[Ed Harris]].

==Early life==
Pollock was born in [[Cody, Wyoming]] in 1912,<ref name=iha>Piper, David. ''The Illustrated History of Art'', ISBN 0-7537-0179-0, p460-461.</ref> the youngest of five sons. His parents, Stella May McClure and LeRoy Pollock, grew up in [[Tingley, Iowa]]. His father had been born ''McCoy'' but took the surname of his neighbors, who adopted him after his own parents had died within a year of each other. Stella and LeRoy Pollock were [[Presbyterianism|Presbyterian]]; the former, of [[Irish people|Irish]] descent; the latter, of [[Scotch-Irish American|Scotch-Irish]] descent.<ref>[[B. H. Friedman]], ''Jackson Pollock: Energy Made Visible'', p.4. Da Capo Press, 1995, ISBN 0-306-80664-9</ref> LeRoy Pollock was a farmer and later a land surveyor for the government.<ref name=iha/> Jackson grew up in [[Arizona]] and [[Chico, California]]. While living in [[Echo Park, California]], he enrolled at Los Angeles' [[Manual Arts High School]],<ref name=OLLlocalhistory>{{cite web|title=Our Lady of Loretto Elementary School: Local History Timeline|url=http://www.ollalumni.com/local-history.php|accessdate=2011=06-24}}</ref> from which he was expelled, after having been expelled from another high school in 1928. During his early life, he experienced [[Native Americans in the United States|Native American]] culture while on surveying trips with his father.<ref name=iha/><ref>Robert Sickels, ''The 1940s'', p.223. Greenwood Publishing Group, 2004, ISBN 0-313-31299-0</ref> In 1930, following his brother [[Charles Pollock]], he moved to New York City where they both studied under [[Thomas Hart Benton (painter)|Thomas Hart Benton]] at the [[Art Students League of New York]]. Benton's rural American subject matter shaped Pollock's work only fleetingly, but his rhythmic use of paint and his fierce independence were more lasting influences.<ref name=iha/> From 1938 to 1942, Pollock worked for the WPA [[Federal Art Project]].<ref>{{cite web |url=http://www.beatmuseum.org/pollock/jacksonpollock.html |title=Jackson Pollock |accessdate=2007-09-28 |publisher=The American Museum of Beat Art}}</ref>

In attempts to fight his alcoholism, from 1938 through 1941 Pollock underwent [[Jungian psychotherapy]] with Dr. Joseph Henderson and later with Dr. Violet Staub de Laszlo in 1941-1942. Henderson made the decision to engage him through his art and had Pollock make drawings, which led to the appearance of many Jungian concepts in his paintings.<ref>[http://serdar-hizli-art.com/abstract_art/jackson_pollock_psychoanalytic_drawings.htm ''Abstract Expressionism, Jackson Pollock's "Psychoanalytic Drawings" Paintings"''] Retrieved July 24, 2010</ref><ref>{{cite book |last=Stockstad |first=Marilyn |title= Art History |year= 2005 |publisher=Pearson Education, Inc. |location=Upper Saddle River, New Jersey |isbn=0131455273}}</ref> Recently it has been hypothesized that Pollock might have had [[bipolar disorder]].<ref>{{cite pmid|11433879}}</ref>

==The Springs period and the unique technique==
[[File:No. 5, 1948.jpg|thumb|right|190px|''[[No. 5, 1948]]'']]

In October 1945, Pollock married American painter [[Lee Krasner]], and in November they moved to what is now known as the [[Pollock-Krasner House and Studio]], at 830 Springs Fireplace Road, in [[Springs, New York|Springs]] on [[Long Island]], NY. [[Peggy Guggenheim]] lent them the down payment for the wood-frame house with a nearby barn that Pollock converted into a studio. There he perfected the technique of working with paint with which he would become permanently identified.

Pollock was introduced to the use of liquid paint in 1936 at an experimental workshop operated in New York City by the Mexican muralist [[David Alfaro Siqueiros]]. He later used paint pouring as one of several techniques on canvases of the early 1940s, such as "Male and Female" and "Composition with Pouring I." After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his "[[drip painting|drip]]" technique, turning to synthetic resin-based paints called [[alkyd]] enamels, which, at that time, was a novel medium. Pollock described this use of household paints, instead of artist’s paints, as "a natural growth out of a need."<ref name="about">{{cite web |url=http://painting.about.com/od/colourtheory/a/Pollock_paint.htm |title=What Paint Did Pollock Use? |accessdate=2007-09-28 |last=Boddy-Evans |first=Marion |publisher=about.com}}</ref> He used hardened brushes, sticks, and even basting syringes as paint applicators. Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term [[action painting]]. With this technique, Pollock was able to achieve a more immediate means of creating art, the paint now literally flowing from his chosen tool onto the canvas. By defying the convention of painting on an upright surface, he added a new dimension by being able to view and apply paint to his canvases from all directions. One possible influence on Pollock was the work of the [[Ukrainian American]] artist [[Janet Sobel]] (1894–1968) (born Jennie Lechovsky). Sobel's work is related to the so-called "drip paintings" of Jackson Pollock.<ref>http://www.hollistaggart.com/artists/biography/janet_sobel/</ref>
[[Peggy Guggenheim]] included Sobel's work in her ''[[The Art of This Century Gallery]]'' in 1945. The critic [[Clement Greenberg]], with Jackson Pollock, saw Sobel's work there in 1946,<ref>http://bigthink.com/ideas/18624</ref> and in his essay "American-Type' Painting" Greenberg cited those works as the first instance of [[all-over painting]] he had seen, stating that "Pollock admitted that these pictures had made an impression on him".<ref>[http://books.google.com/books?id=vNoX4iTHPs0C&pg=PA273&dq=Janet+Sobel+Pollock&hl=en&ei=5SLkTOy2OYKBlAf1v5nHDg&sa=X&oi=book_result&ct=result&resnum=4&ved=0CDwQ6AEwAw#v=onepage&q=unmistakably%20made%20an%20impact%20on%20Pollock&f=false Jackson Pollock: interviews, articles, and reviews By Pepe Karmel, Kirk Varnedoe]</ref>

In the process of making paintings in this way, he moved away from figurative representation, and challenged the Western tradition of using easel and brush. He also moved away from the use of only the hand and wrist, since he used his whole body to paint. In 1956, ''[[Time (magazine)|Time]]'' magazine dubbed Pollock "Jack the Dripper" as a result of his unique painting style.<ref>{{cite news |url=http://www.time.com/time/magazine/article/0,9171,808194-2,00.html |title=The Wild Ones |accessdate=2008-09-15 |publisher=[[Time (magazine)]] | date=1956-02-20}}</ref>

<blockquote>
<p>My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be ''in'' the painting.

<p>I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy [[impasto]] with sand, broken glass or other foreign matter added.</p>

<p>When I am ''in'' my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.</p>
<p>—Jackson Pollock, ''[http://books.google.com/books?id=MMYHuvhWBH4C&lpg=PT969&ots=q7FP_5pjVS&dq=My%20painting%20does%20not%20come%20from%20the%20easel.%20I%20prefer%20to%20tack%20the%20unstretched%20can&pg=PT969#v=onepage&q=My%20painting%20does%20not%20come%20from%20the%20easel.%20I%20prefer%20to%20tack%20the%20unstretched%20can&f=false My Painting]'', 1956</p>
</blockquote>

Pollock observed [[Native Americans in the United States|Indian]] [[sandpainting]] demonstrations in the 1940s. Other influences on his dripping technique include the Mexican [[mural]]ists and [[Surrealist]] automatism. Pollock denied "the accident"; he usually had an idea of how he wanted a particular piece to appear. His technique combined the movement of his body, over which he had control, the viscous flow of paint, the force of gravity, and the absorption of paint into the canvas. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energetically around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see.

Studies by Taylor, Micolich and Jonas have examined Pollock's technique and have determined that some works display the properties of mathematical [[fractals]].<ref>[http://www.sciam.com/article.cfm?id=can-fractals-spot-genuine Pollock or Not? Can Fractals Spot a Fake Masterpiece?], by JR Minkel for Scientific American, October 31, 2007. Retrieved January 29, 2009.</ref> They assert that the works become more fractal-like chronologically through Pollock's career.<ref>{{Cite web |url=http://www.phys.unsw.edu.au/phys_about/PHYSICS!/FRACTAL_EXPRESSIONISM/fractal_taylor.html |title=Can Science Be Used To Further Our Understanding Of Art? |accessdate=2008-09-15 |last1=Taylor |first1=Richard |last2=Micolich |first2=Adam P. |last3=Jonas |first3=David <!--None--> }}</ref> The authors even speculate that Pollock may have had an intuition of the nature of [[Chaos theory|chaotic]] motion, and attempted to form a representation of mathematical chaos, more than ten years before "[[Chaos Theory]]" itself was proposed. Other experts<ref>{{cite web|last=Ouellette |first=Jennifer |url=http://discovermagazine.com/2001/nov/featpollock |title=Physicist Richard Taylor's study |publisher=Discover magazine |date=2001-11-01 |accessdate=January 28, 2009}}</ref> suggest that Pollock may have merely imitated popular theories of the time in order to give his paintings a depth not previously seen.

[[File:Pollock-barn.jpg|thumb|right|Pollock's Studio in [[Springs, New York]].]]
In 1950, [[Hans Namuth]], a young photographer, wanted to take pictures (both stills and moving) of Pollock at work. Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished. Namuth's comment upon entering the studio:

{{quote|
A dripping wet canvas covered the entire floor … There was complete silence … Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter … My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity? Finally, he said 'This is it.'

Pollock’s finest paintings… reveal that his all-over line does not give rise to positive or negative areas: we are not made to feel that one part of the canvas demands to be read as figure, whether abstract or representational, against another part of the canvas read as ground. There is not inside or outside to Pollock’s line or the space through which it moves…. Pollock has managed to free line not only from its function of representing objects in the world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas.|Karmel, 132
}}

==The 1950s==
Pollock's most famous paintings were made during the "drip period" between 1947 and 1950. He rocketed to popular status following an August 8, 1949 four-page spread in ''[[Life (magazine)|Life]]'' magazine that asked, "Is he the greatest living painter in the United States?" At the peak of his fame, Pollock abruptly abandoned the drip style.<ref>{{cite web|url=http://www.artnet.com/magazineus/features/saltz/saltz9-18-06.asp |title=The Tempest|author = Jerry Saltz |format = reprint|publisher=Artnet.com |date= |accessdate=2009-08-30}}</ref>

Pollock's work after 1951 was darker in color, including a collection painted in black on unprimed canvases. This was followed by a return to color,<ref name=bio>{{cite web |url=http://www.jackson-pollock.com/biography.html |title=Biography |accessdate=2007-09-28 |publisher=Jackson-pollock.com}}</ref> and he reintroduced figurative elements. During this period Pollock had moved to a more commercial gallery and there was great demand from collectors for new paintings. In response to this pressure, along with personal frustration, his [[alcoholism]] deepened.<ref>[http://www.jackson-pollock.com/downfall.html Downfall of Pollock]. Retrieved July 23, 2010.</ref>

==From naming to numbering==
Pollock wanted an end to the viewer's search for representational elements in his paintings, and so he abandoned titles and started numbering the paintings instead. Of this, Pollock commented: "...look passively and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for." Pollock's wife, [[Lee Krasner]], said Pollock "used to give his pictures conventional titles... but now he simply numbers them. Numbers are neutral. They make people look at a picture for what it is—pure painting."<ref name="about"/>

==Death==
[[File:Pollock-green.jpg|thumb|left|Jackson Pollock's grave in the rear with Lee Krasner's grave in front in the [[Green River Cemetery]].]]
In 1955, Pollock painted ''Scent'' and ''Search'' which would be his last two paintings.<ref>[http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism55.html Abstract Expressionism in 1955]. Retrieved August 28, 2009.</ref> Pollock did not paint at all in 1956.<ref name=bio/> After struggling with alcoholism for his entire adult life, Pollock, on August 11, 1956, at 10:15 pm, died in a single-car crash in his [[Oldsmobile]] convertible while driving under the influence of alcohol. One of the passengers, Edith Metzger, was also killed in the accident, which occurred less than a mile from Pollock's home. The other passenger, Pollock's mistress [[Ruth Kligman]], survived.<ref>[[Kirk Varnedoe|Varnedoe, Kirk]] and Karmel, Pepe, ''Jackson Pollock'': Essays, Chronology, and Bibliography. Exhibition catalog, New York: [[The Museum of Modern Art]], ''Chronology,'' p.328, 1998, ISBN 0-87070-069-3</ref> After Pollock's demise at age 44, his widow, [[Lee Krasner]], managed his estate and ensured that Pollock's reputation remained strong despite changing art-world trends. They are buried in [[Green River Cemetery]] in [[Springs, New York|Springs]] with a large boulder marking his grave and a smaller one marking hers.

==Legacy==
The [[Pollock-Krasner House and Studio]] is owned and administered by the Stony Brook Foundation, a non-profit affiliate of [[Stony Brook University]]. Regular tours of the house and studio occur from May through October.
A separate organization, the [[Pollock-Krasner Foundation]], was established in 1985. The Foundation functions as the official Estate for both Pollock and his widow [[Lee Krasner]], but also, under the terms of Krasner's will, serves "to assist individual working artists of merit with financial need."<ref>{{cite web|url=http://www.pkf.org/press.html |title=The Pollock-Krasner Foundation website: Press Release page |publisher=Pkf.org |date= |accessdate=2009-08-30}}</ref> The U.S. copyright representative for the Pollock-Krasner Foundation is the [[Artists Rights Society]] (ARS).<ref>{{cite web|url=http://arsny.com/requested.html |title=Most frequently requested artists list of the Artists Rights Society |publisher=Arsny.com |date= |accessdate=2009-08-30}}</ref>

His papers were donated by Lee Krasner in 1983 to the [[Archives of American Art]]. They were later included with Lee Krasner's own papers. The [[Archives of American Art]] also houses the Charles Pollock Papers which includes correspondence, photographs, and other files relating to his brother, Jackson Pollock.

==In pop culture and media==
In 1960, [[Ornette Coleman]]'s album ''[[Free Jazz: A Collective Improvisation]]'' featured a Pollock painting as its cover artwork.

In 1973, [[Blue Poles]] ''(Blue Poles: Number 11, 1952),'' was purchased by the Australian [[Gough Whitlam|Whitlam]] Government for the [[National Gallery of Australia]] for US $2 million (AU $1.3 million at the time of payment). At the time, this was the highest price ever paid for a modern painting.The painting is now one of the most popular exhibits in the gallery.<ref name="Canberra">{{cite news | url= http://canberra.yourguide.com.au/detail.asp?class=news&subclass=general&story_id=528424&category=General&m=11&y=2006 | title= Our Poles world's top-priced painting? | date=November 4, 2006 | work=[[The Canberra Times]]}}</ref> It was a centerpiece of the [[Museum of Modern Art]]'s 1998 retrospective in New York, the first time the painting had returned to America since its purchase.

British indie band [[The Stone Roses]] were heavily influenced by Pollock, with their cover artwork being pastiches of his work.<ref name="TheGuardian">{{cite news | url=http://www.guardian.co.uk/music/2004/may/13/stone-roses-john-squire-art | title=Pollock, paint and me | date=May 13, 2004 | work=[[The Guardian]] | location=London | accessdate=2010-05-05 | first=John | last=Squire}}</ref>

In 2000, the biographical film ''[[Pollock (film)|Pollock]]'' was released. [[Marcia Gay Harden]] won the [[Academy Award for Best Supporting Actress]] for her portrayal of Lee Krasner. The movie was the project of [[Ed Harris]] who portrayed Pollock and directed it. He was nominated for the [[Academy Award for Best Actor]].

In 2003, twenty-four Pollock-esque paintings and drawings were found in a [[Wainscott, New York]] locker. There is an inconclusive ongoing debate about whether or not these works are Pollock originals. Physicists have argued over whether [[fractals]] can be used to authenticate the paintings. This would require an analysis of geometric consistency of the paint splatters in Pollock's work at a microscopic level, and would be measured against the finding that patterns in Pollock's paintings increased in complexity with time.<ref>{{cite web|last = Schreyach| first = Michael|url = http://apollo-magazine.co.uk/features/71129/i-am-nature.thtml|title = I am nature| quote = An attempt has been made to determine the authenticity of some newly discovered paintings that may be by Jackson Pollock on the basis of a belief that his art incorporates fractal patterns seen in the natural world|work = [[Apollo (magazine)|Apollo]]|date = 2007-08-01|accessdate= 2009-06-02}}</ref> Analysis of the synthetic pigments shows that some were not patented until the 1980s, and therefore that it is highly improbable that Pollock could have used such paints.<ref>{{cite news|last=Kennedy |first=Randy |url=http://www.nytimes.com/2006/12/02/books/02frac.html?ex=1322715600&en=088aba6319b31d32&ei=5088&partner=rssnyt&emc=rss |title=The Case of Pollock’s Fractals Focuses on Physics|publisher=New York Times |date=December 2, 2006|accessdate=2009-08-30}}</ref><ref>{{cite news|last=McGuigan |first=Cathleen |url=http://www.msnbc.msn.com/id/20216976/site/newsweek/ |title=Seeing Is Believing? Is this a real Jackson Pollock? A mysterious trove of pictures rocks the art world|publisher= Newsweek |date=August 20–27, 2007 |accessdate=2009-08-30}} {{Dead link|date=October 2010|bot=H3llBot}}</ref>

In November 2006, Pollock's ''[[No. 5, 1948]]'' became the world's most expensive painting, when it was sold privately to an undisclosed buyer for the sum of $140,000,000. Also in 2006 a documentary, ''[[Who the *$&% Is Jackson Pollock?|Who the #$&% Is Jackson Pollock?]]'' was made concerning Teri Horton, a truck driver who in 1992 bought an abstract painting for the price of five dollars at a thrift store in California. This work may be a lost Pollock painting; its authenticity, however, remains debated.

In September 2009, Henry Adams claimed in Smithsonian Magazine that Pollock had written his name in his famous painting "Mural"<ref>[http://www.smithsonianmag.com/arts-culture/Decoding-Jackson-Pollock.html?utm_source=dedicated09252009&utm_medium=email&utm_campaign=JacksonPollock Smithsonian Magazine, Decoding Jackson Pollock]</ref>

==Relationship to Native American art==
Pollock stated:
“I feel nearer, more a part of the painting, since this way I can walk round it, work from the four sides and literally be in the painting. This is akin to the methods of the Indian [[Sandpainting|sand painters]] of the West.”<ref>Jackson Pollock, "My Painting", in Pollock: Painting (edited by Barbara Rose), Agrinde Publications Ltd: New York (1980), page 65; originally published in Possibilities I, New York, Winter 1947-8</ref>

==Critical debate==
Pollock's work has always polarized critics and has been the focus of many important critical debates.

In a famous 1952 article in ''ARTnews'', [[Harold Rosenberg]] coined the term "action painting," and wrote that "what was to go on the canvas was not a picture but an event. The big moment came when it was decided to paint 'just to paint.' The gesture on the canvas was a gesture of liberation from value &mdash; political, aesthetic, moral." Many people assumed that he had modeled his "action painter" paradigm on Pollock.
[[Clement Greenberg]] supported Pollock's work on formalistic grounds. It fit well with Greenberg's view of art history as a progressive purification in form and elimination of historical content. He therefore saw Pollock's work as the best painting of its day and the culmination of the Western tradition going back via [[Cubism]] and [[Cézanne]] to [[Manet]].

The critic [[Robert Coates (critic)|Robert Coates]] once derided a number of Pollock’s works as “mere unorganized explosions of random energy, and therefore meaningless.” <ref>[http://www.nytimes.com/2010/12/05/nyregion/05spotli.html "If It’s So Easy, Why Don’t You Try It"], Steven McElroy, New York Times, December 3, 2010</ref>
Some posthumous exhibitions of Pollock's work were sponsored by the [[Congress for Cultural Freedom]], an organization to promote American culture and values backed by the [[CIA]]. Certain left-wing scholars, most prominently [[Eva Cockcroft]], argue that the U.S. government and wealthy elite embraced Pollock and abstract expressionism in order to place the United States firmly in the forefront of global art and devalue [[socialist realism]].<ref name="Expression of an age">{{cite web|url=http://pubs.socialistreviewindex.org.uk/sr229/molyneux.htm |title=Expression of an age |publisher=Pubs.socialistreviewindex.org.uk |date= |accessdate=2009-08-30}}</ref><ref>Saunders, F. S. (2000), The Cultural Cold War. The CIA and the World of Arts and Letters, New York: Free Press.</ref> In the words of Cockcroft, Pollock became a "weapon of the [[Cold War]]".<ref>Eva Cockcroft, ‘Abstract Expressionism, Weapon of the Cold War’ in Artforum vol.12, no.10, June 1974, pp. 43–54.</ref>
Painter [[Norman Rockwell]]'s work ''Connoisseur''<ref>[http://www.artchive.com/artchive/R/rockwell/rockwell_connoisseur.jpg.html Rockwell, Norman] the Artchive</ref> also appears to make a commentary on the Pollock style. The painting features what seems to be a rather upright man in a suit standing in front of a Jackson Pollock-like spatter painting.

''[[Reynold's News]]'' in a 1959 headline said, "This is not art &mdash; it's a joke in bad taste."<ref name="Expression of an age"/>

==List of major works==
[[File:Lavender Mist.jpg|thumb|300px|right|''Number 1, 1950 (Lavender Mist),'' [[National Gallery of Art]], [[Washington, D.C.]]]]
* (1942) ''Male and Female'' [[Philadelphia Museum of Art]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.male-female.jpg|title = Male and Female|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1942) ''Stenographic Figure'' [[Museum of Modern Art]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.stenographic.jpg|title = Stenographic Figure|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1943) ''Mural'' [[University of Iowa]] Museum of Art,<ref>{{cite web|url=http://digital.lib.uiowa.edu/u?/uima,22871 |title=UIMA: Mural |publisher=Uiowa.edu |date= |accessdate=2009-08-30}}</ref> currently housed at the [[Figge Art Museum]]<ref name="blogspot1">{{cite web|author=Posted by University of Iowa Museum of Art |url=http://uima.blogspot.com/2009/03/uima-moves-first-paintings-into-figge.html |title=Art Matters: UIMA moves first paintings into the Figge Art Museum |publisher=Uima.blogspot.com |date=2009-03-24 |accessdate=2009-08-30}}</ref>
* (1943) ''Moon-Woman Cuts the Circle''<ref>{{cite web|url = http://www.beatmuseum.org/pollock/images/moon.jpg|title = Moon-Woman Cuts the Circle|publisher = www.beatmuseum.org|format = jpeg}}</ref>
* (1943) ''The She-Wolf'' [[Museum of Modern Art]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.she-wolf.jpg|title = The She-Wolf|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1943) ''Blue (Moby Dick)'' [[Ohara Museum of Art]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.moby-dick.jpg|title = Blue (Moby Dick)|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1945) ''Troubled Queen'' [[Museum of Fine Arts, Boston]]<ref>{{cite web|url = http://www.mfa.org/collections/search_art.asp?recview=true&id=34645&coll_keywords=Pollock&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on_view=&coll_sort=1&coll_sort_order=1&coll_view=0&coll_package=0&coll_start=1|title = Troubled Queen|publisher = www.mfa.org}}</ref>
* (1946) ''Eyes in the Heat'' [[Peggy Guggenheim Collection]], [[Venice]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.eyes-heat.jpg|title = Eyes in the Heat|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1946) ''The Key'' [[Art Institute of Chicago]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.key.jpg|title = The Key|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1946) ''The Tea Cup'' Collection [[Frieder Burda]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.tea-cup.jpg|title = The Tea Cup|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1946) ''Shimmering Substance'', from ''The Sounds In The Grass'' [[Museum of Modern Art]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.shimmering.jpg|title = Shimmering Substance|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1947) ''Portrait of H.M.'' [[University of Iowa]] Museum of Art,<ref>{{cite web|url = http://digital.lib.uiowa.edu/u?/uima,18698|title = Portrait of H.M.|publisher = digital.lib.uiowa.edu}}</ref> currently housed at the [[Figge Art Museum]]<ref name="blogspot1"/>
* (1947) ''Full Fathom Five'' [[Museum of Modern Art]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/fathom-five/pollock.fathom-five.jpg|title = Full Fathom Five|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1947) ''Cathedral'' [[Dallas Museum of Art]]<ref>{{cite web|url=http://www.beatmuseum.org/pollock/cathedral.html |title=Jackson Pollock - Painting - Cathedral |publisher=Beatmuseum.org |date= |accessdate=2009-08-30}}</ref>
* (1947) ''Enchanted Forest'' [[Peggy Guggenheim Collection]]<ref>{{cite web|url = http://www.guggenheimcollection.org/images/lists/work/129_4_lg.jpg|title = Enchanted Forest|publisher = www.guggenheimcollection.org|format = jpeg}}</ref>
* (1947) ''Lucifer'' [[Iris & B. Gerald Cantor Center for Visual Arts]]<ref>{{cite web |url=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/06/14/MNCM1JT9SS.DTL |title=Anderson Gallery a major art donation to Stanford |author=Baker, Kenneth |date=June 14, 2011 |work= |publisher=San Francisco Chronicle |accessdate=2011-06-14}}</ref>
* (1948) ''Painting''<ref>{{cite web|url = http://www.centrepompidou.fr/images/oeuvres/XL/3I01535.jpg|title = Painting|publisher = www.centrepompidou.fr|format = jpeg}}</ref>
* (1948) ''[[Number 5 (painting)|Number 5]]'' (4&nbsp;ft x 8&nbsp;ft) Private collection
* (1948) ''Number 8''- At Neuburger Museum at the State University of New York at Purchase.
* (1948) ''Number 13A: Arabesque''- At Yale University Art Gallery in New Haven, Connecticut.
* (1948) ''Composition (White, Black, Blue and Red on White)'' [[New Orleans Museum of Art]]<ref>{{cite web|url = http://www.noma.org/educationguides/Pollock.pdf|title = New Orleans Museum of Art Educational Guide|publisher = www.noma.org}}</ref>
* (1948) ''Summertime: Number 9A'' [[Tate Modern]]
* (1949) ''Number 1'' [[Museum of Contemporary Art, Los Angeles]]<ref>{{cite web|url = http://www.moca.org/museum/pc_artwork_detail.php?&acsnum=89.23&keywords=No.%201%2C%201949&x=27&y=3|title = Number 1|publisher = www.moca.org}}</ref>
* (1949) ''Number 3''
* (1949) ''Number 10'' [[Museum of Fine Arts, Boston]]<ref>{{cite web|url = http://www.mfa.org/collections/search_art.asp?recview=true&id=34114&coll_keywords=Pollock&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on_view=&coll_sort=1&coll_sort_order=1&coll_view=0&coll_package=0&coll_start=1|title = Number 10|publisher = www.mfa.org}}</ref>
* (1950) ''Number 1, 1950 (Lavender Mist)'' [[National Gallery of Art]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/lavender-mist/pollock.lavender-mist.jpg|title = Number 1, 1950 (Lavender Mist)|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1950) ''Mural on Indian red ground, 1950'' [[Tehran Museum of Contemporary Art]]<ref>{{cite web|url = http://www.artcyclopedia.com/masterscans/l164.html|title = Mural on indian red ground, 1950 |publisher = http://www.artcyclopedia.com/masterscans/l164.html}}</ref>
* (1950) ''Autumn Rhythm (Number 30), 1950'' [[Metropolitan Museum of Art]]<ref>{{cite web|url=http://www.metmuseum.org/Works_of_Art/viewOne.asp?dep=21&viewmode=0&item=57.92 |title=Autumn Rhythm (Number 30) |publisher= The Metropolitan Museum of Art, New York |date= |accessdate=2009-08-30}}</ref>
* (1950) ''Number 29, 1950'' [[National Gallery of Canada]]<ref>{{cite web|url=http://cybermuse.gallery.ca/cybermuse/search/artist_e.jsp?iartistid=4391 |title=Artist Page: Jackson Pollock |publisher=Cybermuse.gallery.ca |date= |accessdate=2009-08-30}}</ref>
* (1950) ''One: Number 31, 1950'' [[Museum of Modern Art]]<ref>{{cite web|url=http://www.moma.org/collection/browse_results.php?object_id=78386 |title= One: Number 31, 1950|publisher=MoMA |date= |accessdate=2009-08-30}}</ref>
* (1950) ''No. 32''<ref>{{cite web|url=http://www.kunstsammlung.de/index.php?id=179&L=1 |title=Jackson Pollock - Kunstsammlung NRW |publisher=Kunstsammlung.de |date=2006-02-17 |accessdate=2009-08-30}} {{Dead link|date=September 2010|bot=H3llBot}}</ref>
* (1951) ''Number 7'' [[National Gallery of Art]]<ref>{{cite web|url=http://www.nga.gov/cgi-bin/pimage?62343+0+0 |title=Number 7, 1951 - Image |publisher=Nga.gov |date= |accessdate=2009-08-30}}</ref>
* (1951) ''Black & White''
* (1952) ''Convergence'' [[Albright-Knox Art Gallery]]<ref>{{cite web|url = http://www.albrightknox.org/ArtStart/art/K1956_7.jpg|title = Convergence|publisher = www.albrightknox.org}}</ref>
* (1952) ''[[Blue Poles]]: No. 11, 1952'' [[National Gallery of Australia]]<ref>{{cite web|url=http://nga.gov.au/International/Catalogue/Detail.cfm?IRN=36334&ViewID=2&GalID=1 |title= Blue poles |publisher=Nga.gov.au |date= |accessdate=2009-08-30}}</ref>
* (1953) ''Portrait and a Dream'' [[Dallas Museum of Art]]<ref>{{cite news|url=http://arts.guardian.co.uk/portrait/story/0,,991689,00.html |title=Portrait and a Dream|publisher= The Guardian |date= 2003-07-05|accessdate=2009-08-30 | location=London | first=Jonathan | last=Jones}}</ref>
* (1953) ''Easter and the Totem'' [[The Museum of Modern Art]]<ref>{{cite web|url = http://www.ibiblio.org/wm/paint/auth/pollock/pollock.easter-totem.jpg|title = Easter and the Totem|publisher = www.ibiblio.org|format = jpeg}}</ref>
* (1953) ''Ocean Greyness''<ref>{{cite web|url = http://www.artbarreiro.com/artistas/pollock/photos/oceanGreyness.jpg|title = Ocean Greyness|publisher = www.artbarreiro.com|format = jpeg}}</ref>
* (1953) ''The Deep''

==Influence==
Pollock's staining into raw canvas was adapted by [[Color Field]] painters [[Helen Frankenthaler]] and [[Morris Louis]]. [[Frank Stella]] made all over composition a hallmark of his works of the 1960s. [[Happenings]] artist [[Allan Kaprow]], sculptors [[Richard Serra]], [[Eva Hesse]] and many contemporary artists have retained Pollock’s emphasis on the process of creation and were influenced by his approach to making art, rather than by the look of his work.
<ref>{{cite web|title=Jackson Pollock's Unique Style|url = http://www.jackson-pollock.com/uniquestyle.html}}</ref>

==See also==
{{Portal|Biography}}
* [[All-over painting]]
* [[Pollock-Krasner House and Studio]]

{{clear}}
==Notes==
{{reflist|30em}}

==References==
<div class="references-small">
*Herskovic, Marika, [http://www.worldcat.org/search?qt=worldcat_org_bks&q=9780967799421&fq=dt%3Abks ''American Abstract and Figurative Expressionism Style Is Timely Art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies.''] (New York School Press, 2009.) ISBN 978-0-9677994-2-1. p.&nbsp;127; p.&nbsp;196-199
* Herskovic, Marika.[http://www.worldcatlibraries.org/oclc/50253062&tab=holdings ''American Abstract Expressionism of the 1950s An Illustrated Survey,''] (New York School Press, 2003.) ISBN 0-9677994-1-4. pp.&nbsp;262–265
* Herskovic, Marika. [http://www.worldcatlibraries.org/oclc/50666793&tab=holdings ''New York School Abstract Expressionists Artists Choice by Artists,''] (New York School Press, 2000.) ISBN 0-9677994-0-6. p.&nbsp;18; p.&nbsp;38; pp.&nbsp;278–281
*Karmel, Pepe, (Ed),''Jackson Pollock: Key Interviews, Articles and Reviews'' [[Museum of Modern Art]], Pepe Karmel, and [[Kirk Varnedoe]] (Editors), Publisher: Abrams,Harry N Inc., ISBN 0-87070-037-5, 1999.
*[[Kirk Varnedoe|Varnedoe, Kirk]] and Karmel, Pepe, ''Jackson Pollock'': Essays, Chronology, and Bibliography. Exhibition catalog, New York: [[The Museum of Modern Art]], 1998, ISBN 0-87070-069-3.
* O'Connor, Francis V. Jackson Pollock [exhibition catalogue] (New York, Museum of Modern Art, [1967]) OCLC 165852
* Taylor, Richard; Micolich, Adam; Jonas, David: Fractal Expressionism, ''Physics World'', October 1999
* Naifeh, Steven and Smith, Gregory White, ''Jackson Pollock:an American saga,'' Published by Clarkson N. Potter, Inc.1989, ISBN 0-517-56084-4
* http://www.jackson-pollock.com/didyouknow.html
* http://www.nytimes.com/2002/02/15/arts/art-in-review-janet-sobel.html?pagewanted=1 ART IN REVIEW By Roberta Smith [[The New York Times]] — PDF available for download)
*http://www.mcah.columbia.edu/arthumanities/mov/arthum_pollock_studio.mov
</div>

==External links==
{{wikiquote}}
{{commons category|Jackson Pollock}}
<!-- I get the feeling a lot of these can be removed, but the house web site should be up front-->
* [http://stonybrook.edu/pkhouse Pollock-Krasner House and Study Center]
* [http://www.pkf.org Pollock-Krasner Foundation]
<!-- rest go below-->
* [http://www.theartstory.org/artist-pollock-jackson.htm Jackson Pollock at The Art Story Foundation]
* [http://www.ibiblio.org/wm/paint/auth/pollock/ Pollock on Museum Web Paris]
* [http://www.lawforart.com/pollock.html Pollock and The Law]
* [http://www.nga.gov/feature/pollock/index.htm National Gallery of Art web feature, includes highlights of Pollock's career, numerous examples of his work, photographs and motion footage of Pollock, plus an in-depth discussion of his 1950 painting ''Lavender Mist''.]
* [http://www.nga.gov.au/International/Catalogue/Detail.cfm?IRN=36334&MnuID=2&GalID=1 ''Blue Poles''] at the NGA
* [http://smarthistory.org/blog/55/jackson-pollock-one-number-31-1950-1950-moma/ ''One. Number 31, 1950''] smARThistory
* [http://www.terraingallery.org/Pollock_LS.htm Jackson Pollock's Number One 1948; How Can We Be Abandoned and Accurate at the Same Time? by Lore Mariano]
* [http://materialscience.uoregon.edu/taylor/art/info.html#Recent_Publications Fractal Expressionism] &ndash; the fractal qualities of Pollock's drip paintings.
* [http://www.harley.com/art/abstract-art/ Understanding Abstract Art] by Harley Hahn
* [http://arts.guardian.co.uk/art/news/story/0,,2219685,00.html Ed Pilkington, ''Pollock cache may have been painted after artist's death,'' The Guardian, November 30, 2007]
* [http://www.aaa.si.edu/collections/findingaids/polljack.htm Jackson Pollock Papers at the Smithsonian's Archives of American Art]
* [[wikilivres:Jackson Pollock|Works by Jackson Pollock]] (public domain in Canada)
* [http://www.moma.org/explore/multimedia/audios/197/2019 A talk given at the Museum of Modern Art in NYC titled: ''"Jackson Pollock, John Cage and William Burroughs"'']
* [http://life.time.com/culture/jackson-pollock-rare-unpublished/#1 pictures of Pollock, slideshow ''Life Magazine'']
=== Museums ===
* {{MoMA artist|4675}}
* [http://www.guggenheimcollection.org/site/artist_works_129_0.html Pollock collection at Guggenheim NY site]
* [http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=link;dtype=d;key=110390;page=701900101 Los Angeles County Museum of Art (LACMA), Los Angeles, California]
* [http://www.moca.org/museum/pc_search_results.php?keywords=jackson+pollock Museum of Contemporary Art (MoCA), Los Angeles, California]
* [http://www.imj.org.il/imagine/collections/results.asp?searchType=simple&words=Pollock%2C+Jackson&ArtistE=on&Submit2=Search Jackson Pollock] at the [[Israel Museum]], Jerusalem

{{Persondata
|NAME= Pollock, Jackson
|ALTERNATIVE NAMES= Pollock, Paul Jackson
|SHORT DESCRIPTION= American painter and a major force in the [[abstract expressionism|abstract expressionist]] movement
|DATE OF BIRTH= {{birth date|1912|1|28|mf=y}}
|PLACE OF BIRTH= [[Cody, Wyoming]]
|DATE OF DEATH= {{death date|1956|8|11|mf=y}}
|PLACE OF DEATH= [[Springs, New York]]
}}
{{DEFAULTSORT:Pollock, Jackson}}
[[Category:1912 births]]
[[Category:1956 deaths]]
[[Category:20th-century painters]]
[[Category:Abstract expressionist artists]]
[[Category:American painters]]
[[Category:American people of Irish descent]]
[[Category:American people of Scotch-Irish descent]]
[[Category:Archives of American Art related]]
[[Category:Art Students League of New York alumni]]
[[Category:Artists from New York]]
[[Category:Artists from Wyoming]]
[[Category:East Hampton (town), New York]]
[[Category:Federal Art Project]]
[[Category:People from Chico, California]]
[[Category:People from Echo Park, Los Angeles]]
[[Category:People from Park County, Wyoming]]
[[Category:People of the New Deal arts projects]]
[[Category:People self-identifying as alcoholics]]
[[Category:Road accident deaths in New York]]

{{Link FA|ka}}

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Revision as of 14:38, 1 May 2012

YOU MAD THAT I DELETED THIS PAGE?lol

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