In the “How do we know if art is good" thread the following Jackson Pollock painting was posted along with the question “can you tell me what this is communicating” and the comment ‘tell me honestly that you get this painting’ was also offered. Well, being that I’ve seen this same subject come up in several other threads I’ve decided to open discussion on this subject and was wondering if I am alone in getting this and other similar types of non-representational works. So, the question is: Do you get it? If so why, if not why, I’d love to know.
All right, I’m going to stay away from the above discussion concerning galleries, their owners, and the richer segment of the population, although I do see a ‘Bergeresque’ discussion in the future, perhaps a new thread, but for now I’d like to comment on the magnificent “McDonald’s” floor pictured above. If Mickey D’s floors actually looked like this, then I’d probably be spending a whole lot more time chompin’ on French fries, and not because I’ve been mystified, fooled, or manipulated in to believing that the floor is the work of an important artist, but because I find the floor to be mezmerizing and artistic to the power of 140 or so.
Pollock’s #5 from 1948 is spectacular for many reasons which I will be glad to share with those who can’t seem to get past the "punk rock attitude" or the ‘anybody can paint like that’ mentality. ("Bob") mentioned that he wanted to see "humanity" in art, well these drip paintings have an extremely deep human connection that has nothing to do with "immature random violence" or "utter greed and tastelessness of the fat cats who have bought and sold it." Allow me to explain.
I’ll begin by pointing out the simple complexity, and complex simplicity, inherent in his drip paintings. Like a meandering labyrinth of action, these monumentally large canvases invite the viewer to experience a straightforward and almost transparent view of the world. Like life, a simple action can be responsible for a complex situation, just as complicated situations often find resolve from the simplest actions. How many of us can relate to this idea?
This dichotomy represents precisely what was happening in Pollock's life when he painted these. Which, as Paulsydney brilliantly points out, is vital to understanding his work, “Pollock belongs in the pantheon of fine arts where a little extra knowledge of the man, his thoughts and methods, and context of the artistic world of the day are important to overall appreciation of his works.” Well said.
It wasn’t until after Lee Krasner, Jackson Pollock’s wife and emotional foundation, convinced him to leave the city and to stop drinking, that he was able to clear his mind enough to paint. This somewhat simple lifestyle alteration allowed him to escape years of mental instability and blurred objectives, severe alcoholism and self-persecution, an overwhelming desire to be known and respected, alongside an ever-constant fear of success. To finally find an uncomplicated and comfortable environment to express himself was paramount to his “breaking the ice” as De Kooning said of the drip paintings.
Simply stop, and all of the tortuous, convoluted, entangled problems will resolve themselves. Some might say that my thoughts represent a somewhat poetic interpretation and not one based on concrete foundations. Nevertheless, I think the paralells are quite clear; on occasion, a poetic interpretation is one that assists when we really have a desire to “see” something, especially these paintings.
Another more concrete observation rests within being able to follow every movement of the artist. This fixed action creates a unique experience between the artist and viewer, and on top of that Pollock was able to achieve this relationship in a considerably unique fashion unlike any other non-repwork before. He successfully developed a relationship with the viewer without any traditional methods, other than a pleasing finished product and a few conventional compositional elements. There is an obvious balance to the composition (it is not random), a depth and three dimensionality to the lines created, the drags and drips communicate the action of the paintings evolution, a rare treat for the viewer. Not to even mention the sheer size of his canvases! Not only do they allow the viewer to practically immerse themselves in a tangle of color and motion all while standing perfectly still, but they also relay a message of clarity among turmoil, and this, my friends, was and still is monumental.
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