Plack writes that "The exhibition traces the relationships between Jackson Pollock, Alfonso Ossorio, and Jean Dubuffet, three artists working simultaneously across continents in similar abstract styles during the period of 1945 to 1958. The 53 paintings and prints in the exhibition tell the story of how Pollock, Ossorio and Dubuffet influenced each other through not only their close friendships, but also through the sharing of ideas, techniques and even studio spaces... All three grappled with abstraction versus figuration, and each had an interest in process and materials."
Robert Goodnough's classic 1951 narration of Jackson Pollock's studio process.
In addition to documenting Pollock's now familiar drip technique, Goodnough also reveals the lesser known aspects of Pollock's method. Goodnough writes: "The final work on the painting was slow and deliberate. The design had become exceedingly complex and had to be brought to a state of complete organization. When finished and free from himself the painting would record a released experience. A few movements in white paint constituted the final act and the picture was hung on the wall; then the artist decided there was nothing more he could do with it. Pollock felt that the work had become 'concrete'—he says that he works 'from the abstract to the concrete,' rather than vice versa: the painting does not depend on reference to any object or tactile surface, but exists 'on its own.' "
To introduce his article on the "the visual anxiety that American painters feel when confronted with the European visual traditions," Mark Stone posts a revealing (and poignant) video of Clement Greenberg discussing Jackson Pollock's anxiety about whether his all-over drip technique was really "Painting."
Stone proposes that Pollock's inner-struggle is one that continues to affect contemporary American painters. He writes that Greenberg "makes clear that Pollock wanted to return to the Impressionists, to learn from them. And for me this points to our own continuing conundrum about painting. Pollock wanted to learn about painterly vision in Nature, about the way the Impressionists would see and paint through time instead of seeing and painting in time – visual culture versus experiential culture."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.