The surface of One: Number 31, 1950 was puzzling. Unlike Full Fathom Five, the 1947 painting in which Pollock had embedded nails, buttons, and keys, and other objects, the inclusions in One: Number 31, 1950 (like the fly that apparently settled in the black paint and got stuck there) seem the result of chance. More curious were the areas inconsistent with Pollock’s style—fussily applied, in tiny brushstrokes. This “spurious overpainting,” as Coddington puts it, was evidently added by an enigmatic restorer whose identity remains unknown. Judging by photographs,
conservators date the additions to some time between 1962 and ’68.
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Pollock as cave man:
Now more than ever, the work evokes the walls of a prehistoric cave, the oldest known mark-making of primitive man.
“He’s declaring his identity free of language in the most elemental way,” Temkin says. “He wanted to bring modern art to that same level of essentialism. He’s harking back to a period when humankind was not far past the ape stage.”
oogah me painter
The iron wheel ominously spins for up to two hours. You are seeing oil chemically and mechanically converted into movement, flirting with perpetual motion, and on the edge of destruction—and nothing actually goes anywhere. Burden describes the piece as a “Neanderthal atomic bomb.”
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- bill 10-17-2013 8:11 pm
Another certified, bonafied, guaranteed MFing working link from bill.
- bill 10-17-2013 8:13 pm [add a comment]
Pollock as cave man:
oogah me painter- tom moody 10-17-2013 9:17 pm [add a comment]
cave ladies
- mark 10-18-2013 5:00 am [add a comment]
- bill 10-21-2013 4:25 pm [add a comment]