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through a glass brightly: jackson pollock in his own words - colored glass film

by:Cailong     2019-07-19
through a glass brightly: jackson pollock in his own words  -  colored glass film
In the fall of 1950, photographer Hans NamUs filmed a colorful film by Jackson Pollock ---
Considered the most influential American painter in the 20 th century. -
Outdoor painting at his Hampton Inn East. The 12-
In June 1951, Pollock's narrator and Morton Feldman's original score were first released at the Museum of Modern Art, which was at an art film festival in Woodstock, NY that summer. Y.
It is being screened at the Museum of Modern Art in New York as part of the Pollock spectrum exhibition, which ends on February. 2.
The film can be viewed at Pollock's request.
The artist's former residence and studio Krasner's former residence and Research Center.
Although the film was called "pretend" by the New York Times, it found sympathetic audiences at art schools and colleges, inspiring a generation of artists to follow Pollock's spontaneous behavior, an unpremeditated approach to the creative process.
In the narrative, in his own words, he summed up his willingness to follow the flow and explained his departure from orthodox techniques.
"Because the painting has its own life," he said, "I tried to make it live.
Here is an excerpt from William Wright's 1950 radio interview record with Pollock (
From Jackson Pollock's catalogue.
Wright: I noticed you did something on the flat glass in the corner.
Can you tell us something?
Well, this is something new for me.
This is the first thing I do on the glass and I find it very exciting.
I think the possibility of using glass painting in modern buildings-
In modern architecture-terrific.
Wright: Well, is the one on the glass different from your usual technique?
Pollock: It's basically the same.
In this particular work, I used colored glass plates, gray mud plates, beach stones and a variety of things.
Generally speaking, it is almost the same as all my paintings.
Wright: If you do more of these for modern architecture, will you continue to use all sorts of things?
I think so.
It seems to me that the possibilities are endless and what people can do with glass.
In my opinion, this is a medium that is very relevant to contemporary painting.
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View all New York Times newsletters. WRIGHT: Mr.
Pollock, your method of painting, your technique, is important and interesting just because you have done something with it, isn't that true?
I hope so.
Naturally, the result is this. as long as someone says something, there is no big difference in the painting of the paint.
Technology is only a means to reach a statement.
Here is an excerpt from Hans NamUs's article entitled "shooting Pollock" in Pollock painting (
Agrinde Publications).
I realized that I wanted the artist to see his face at work and, arguably, he was part of the canvas ---
Come to the audience-
By painting itself.
How is this done?
One night I thought of the advertisement: the painting had to be placed on the glass and I would shoot it from below.
When I put forward the idea he liked and replied yes he often wanted to work on the glass.
Pollock, an amazing Carpenter, built a big platform.
We bought a piece of glass.
We can only afford one. for $10.
After many unsuccessful attempts, I finally figured out how to lay on my back, put the camera on my chest and take a picture of him from below.
Jackson made several mistakes before he wanted to do something.
In this movie, for a while, he wiped the paint from the glass, started over, and said, "I sometimes lose a picture, but I'm not afraid of change, because a painting has its own life.
When Jackson worked on the painting, he sprinkled some silk screens, glass pebbles, shells, ropes and plain glass on the surface.
As he mentioned in his narrative, this use of foreign things is not uncommon in his work.
The paint layers embedded in these objects are thick and will take a week to dry.
We shoot in the fall, when the leaves change.
One day, as I drove from the mill's home to Pollock's home, I looked up and looked at me as I passed through the leaves of the elm and maple trees.
I narrowed my eyes and the picture seemed to form on it.
It seems to me that's what Pollock is trying to do.
His work is close to nature.
Last Sunday, a photo of Jackson Pollock painting on glass on November 1950 was omitted.
It should be $;
1998 Museum of Modern Art and Hans NamUs Limited
We are constantly improving the quality of text archives.
Please send feedback, error reports, and suggestions to archid_feedback @ nytimes. com.
A version of the article was printed on page LI14 of the National edition on November 15, 1998, with the title: bright through the glass: Jackson Pollock said in his own words.
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