Why is that important? Looking at Jackson Pollock발음듣기
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Why is that important? Looking at Jackson Pollock
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100% 한국어
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[Voiceover] Pollock was a little bit tricky with his naming conventions, especially when he moved to numbering.발음듣기
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When you look at it from afar, they do look like [a mess], a craziness, but up close, there does seem to be some ...발음듣기
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[Voiceover] I think Pollock actually would have liked the idea that we looked at it and saw a bit of a mess.발음듣기
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In fact, one of the issues that he was interested in, and I think certainly the abstract expressionists were interested in, is this idea that somehow the internal self was being brought out.발음듣기
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[Voiceover] In a lot of our conversations, we've been talking about the importance of context, not just looking at that piece by itself, to get some context.발음듣기
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Was there other stuff like this that was done before, or was he really the first to put up stuff like this?발음듣기
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In fact, one of his compatriots, another abstract expressionist said, "Jackson really broke the ice."발음듣기
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This was the first painting, not that was absolutely abstract, but that was, what we call, "action painting," that was a kind of almost performative action in the arena of the canvas.발음듣기
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That is literally just unrolled the cotton duck on the floor of his studio, and then walked around it and painted.발음듣기
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[Voiceover] In fact, in this painting, if you look at it really closely, there's a thin bead of white paint that scrawls all over the surface.발음듣기
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When you look at it really closely, you actually see that it is a bead of paint that stands off from the surface.발음듣기
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One of the things that least [unintelligible] me was when we discussed how modern art is not about creating an illusion of something else that more traditional art traditionally did.발음듣기
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Modern art was really about the piece itself representing itself, but before Pollock came along, if I'm hearing you correctly, most of the people were doing the more rigid modern art, or [unintelligible] [you call them], I guess, careful modern art, where it was very geometric.발음듣기
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That's what you imagine [unintelligible], this hairiness that comes to mind when you look at this.발음듣기
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Once again, if i were to go out, get an un-stretched canvas, I would probably have a lot of fun doing what Pollock did, but it wouldn't be as interesting to the art community.발음듣기
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He was a real master of paint that was being dripped, that was being splattered, that was being flung.발음듣기
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You can see that in the photographs of his painting, and especially in the films of his painting.발음듣기
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If you look at this painting really closely, you'll notice that it's not just paint that has been flung.발음듣기
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Now, there are some reports that he had recently looked at Paleolithic cave painting, where there are hand prints, or more precisely, there are areas where somebody put their hand against the wall, and then literally spit pigment against it, creating a negative image of a hand.발음듣기
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Pollock, I think, was fascinated by trying to retrieve not the analytic, precise geometry of abstraction that you talked about a moment ago, but rather going back to a primal, elemental human experience.발음듣기
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I think that he's able to brilliantly collapse the 30,000 years that separated us and the artists of the caves.발음듣기
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[It hasn't] pushed our thinking as to what art actually is, but there's a nagging feeling in me that it is overinterpreting it a little bit.발음듣기
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You never explicitly said that he had visited these cave paintings, then we would just say, "Well, he put hand prints there, because he felt like putting hand prints."발음듣기
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[Voiceover] I think that the idea that we are interpreting is something that always makes us uncomfortable.발음듣기
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When you get in higher mathematics, and certainly the sciences, am I wrong that there is interpretation involved?발음듣기
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What you do have is, especially if you go to higher-order mathematics, or higher-order physics, you will have equations emerging.발음듣기
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Then, those are subject to interpretation in terms of what are they telling us about reality?발음듣기
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I guess what I sometimes feel, and I suspect a lot of people feel, is why was this thing validated?발음듣기
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I think because the question that keeps coming up for us also in these conversations of context.발음듣기
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It would also mean looking at Pollock's life and the kinds of things that he was interested in as an individual.발음듣기
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When we look at works, like "Number 1A," we can put it in that broader context of both the individual and the culture that he lived in.발음듣기
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[Voiceover] It's true that all of this art, and, in fact, the styles that are developed are very clear attempts to solve problems that these artists are engaged in, in a very personal way, and also in a very philosophical way.발음듣기
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If you look at the title, "Number 1A," 1948, it is Pollock's very conscious attempt, and very clear signal that he doesn't want to give a narrative title to this painting.발음듣기
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So, what he's done, is he's borrowed a system of titling that comes from music, that comes from composers.발음듣기
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He's doing this in order, in fact, not to prompt certain kinds of images, so that we're not looking for something specific.발음듣기
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[Voiceover] How many of these ... because the other thing that the title tells you is that it's probably not the only one like this.발음듣기
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[Voiceover] It was only a few years before this that he really began to experiment with the way in which paint could be applied to a canvas.발음듣기
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Taking the canvas off the wall, putting it on the floor, so that there is this very direct confrontation between the artist's movement around the canvas and the actual paint itself.발음듣기
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In fact, some art historians have gone so far as to say this is almost a kind of choreographic notation that we literally see the artist's hand movements and body movements here.발음듣기
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He does that in a tentative way, still during the 2nd World War, I think, in 1943, 1944, pulls away from it a bit, and then really dives in around 1947, and now we see in 1948.발음듣기
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He'll continue this through the large, triumphal paintings of 1950, and then he'll hit a wall.발음듣기
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Now, part of that had to do with his own biography, but he pushed painting probably as far as he could have at that moment, and then he began to explore, again, the figurative.발음듣기
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We're looking at a painting that is at this incredible and dynamic moment of invention and exploration.발음듣기
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[Beth] I think that there's always the danger of over-interpreting, but that for the most part, in the museum, it's good to be open to the idea that the images have meaning, and that for the most part, what we're given are paintings that there's a consensus are important, and that somehow that reaction that I think we all feel, that I know that I certainly still feel when I look at some works of art in galleries and museums of, "What is that?발음듣기
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'"What could that be? Why is that important? That doesn't look like much of anything to me." and to take a step back and try to learn something more, try to broaden my horizons.발음듣기
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Really, we need all of these other things to come to terms with the work of art, and truly appreciate it.발음듣기
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I remember, when seeing that, seeing the actor go through the motions of reinacting what Pollock might have done, that seemed like a form of art by itself.발음듣기
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Some of what Steven has been talking about is what's neat about this painting is you can almost imagine the artist's motions as he went around the painting.발음듣기
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It seems like there would have been a legitimacy to even having documenting his movements, video-taping him, whatever, pictures, whatever that might be, and even having that part of the piece, or at least context for the piece.발음듣기
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[Voiceover] What you're saying is really interesting because there was a big debate among critics of Jackson Pollock at this time, trying to understand really where the art was.발음듣기
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Harold Rosenberg took another position and said, "You know what? When you put it on the wall, it's only a fossil."발음듣기
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[Voiceover] [unintelligible] intermediary stuff was maybe these should be viewed not on the wall, but on the floor.발음듣기
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Sometimes when I'm in the museum, I have to admit, I sometimes cock my head at the side of the canvas and really try to reimagine what it looked like to Pollock.발음듣기
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