spective “exhibition” of Allan Kaprow’s Happenings, called Preced- ings, that I .. “The Legacy of Jackson Pollock” remains for some Kaprow’s sem- inal essay. ALLAN. E.S’J/f’15 0/11 TNt: I’ of A”j t1Nl> LIFE (fi”EI(K£L £. C Ul:’F c-ltLIFafl- NIA f’fi:ES..J’/ 😉 /- t. The Legacy of Jackson Pollock () The tragic news of . Allan Kaprow – The Legacy of Jackson Pollock – Download as PDF File .pdf), Text File .txt) or read online.

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In fact, only the writers among them—and only in a few instances—enjoyed any success in this way.

Allan Kaprow – Telegraph

More from the web. University of California Press,pp. He created some magnificent paintings. Calling himself an “un-artist”, Kaprow and others began staging further “happenings” in car parks, lofts, classrooms, shops and other unusual locations. Not all the roads of this modern art lead to ideas of finality. But it did not seem that Pollock had indeed accomplished something, both by his attitude and by his very real gifts, that went beyond even those values recognized and acknowledged by sensitive artists and critics.

Every artist worth his salt has “discovered” these things. Few individuals can be lucky enough to possess the intensity of this kind of knowing, and I hope that in the near future a careful study of this perhaps Zen quality of Pollock’s personality will be undertaken. Installation view from Explosion! Notes Jackson Pollock, untitled, ca.

Allan Kaprow

In the last seventy-five years the random play of the hand upon the canvas or paper has become increasingly important. Strokes, smears, lines, dots became less and less. Anywhere is everywhere, and we dip in and out when and where we can. The space of these creations is not clearly palpable as such.

Although the term has now come to be associated with a loose and spontaneous artistic occurrence, 18 Happenings was a highly-rehearsed production. But now it was our time, and a man some of us knew. Practically every door was opened with an aggressive kick, and a new generation of artists began seeing themselves not as painters or sculptors plllock simply as artists, who regarded all material and subjects as potential art.

But given the proper approach, a medium-sized exhibition space with the walls totally covered by Pollocks offers the most complete and meaningful sense of his art possible. Surrealism attracted Pollock as an attitude rather than as a collection of artistic examples. But some of the implications inherent in these leggacy values are not as futile as we all began to believe; this kind of painting need not be called the tragic style.


By the mids the term “happening” had entered the hip vocabulary of the time.

Inspired by the dynamism of Jackson Pollock, Kaprow expounded the theory that art would become increasingly associated with “physical events” as opposed to the production of an object; and his “happenings” were shaped by audience participation, body movements, recorded sounds, spoken texts and even smells. Pollock’s canvases, wrote Kaprow, were so huge and all-embracing that “they ceased to become paintings and became environments”, paving the way for a new form of art jadkson which “action” predominated over “painting”.

We could not avoid seeing that during the last five years allann his life his strength had weakened, and during the last three he had hardly worked at all. This ultimate sacrificial aspect of being an artist, while not a new idea, seemed in Pollock terribly modern, and in him the statement and the ritual were so grand, so authoritative and all-encompassing in their scale and daring that, whatever our private convictions, we could not fail to be affected by their spirit.

There is, as I said earlier, a certain blindness, a mute belief in everything he does, even up to the end.

It has been seen how Pollock came pretty close to doing so himself. The crudeness of Jackson Pollock is not, therefore, uncouth; it is manifestly frank and uncultivated, unsullied by training, trade secrets, finesse—a directness that the European artists he liked hoped for and partially succeeded in but that he never had to strive after because he had it by nature.

The innovations are accepted. Pollock, as I see him, left us at the point where we must become preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-second Street.

Pollock’s near destruction of this tradition may well. Pollock’s choice of great sizes resulted in our being confronted, assaulted, sucked in. And this leads me to my final point: Stand-up comedian who broke new ground with his television series The Larry Sanders Show.


Explosion! The Legacy of Jackson Pollock

And for this reason any allusions to Pollock’s being the maker of giant textures are completely incorrect. Inin an article on Abstract Expressionism entitled The Legacy of Jackson Pollock, Kaprow first suggested that the concept of “action painting” could be developed to include the action as a work of art in itself.

Though evidence points to a slackening of the attack as Pollock came to the edges of many of his canvases, in the best ones he compensated for this by tacking much of the painted surface around the back of his stretchers. We remembered van Gogh and Rimbaud. Rather than releasing the freedom that it at first promised, it caused not only a loss of power and possible disillusionment for Pollock but also that the jig was up.

We were a piece of him: If we examine a few of the innovations mentioned above, it may be possible to see why this is so.

After the Second World War, many artists wanted to start from scratch by attacking painting, which was seen to represent artistic conventionality. But this form allows us equal pleasure in participating in a delirium, a deadening of the reasoning faculties, a loss of “self” in the Western sense of the term. This by itself would be enough to teach us something.

Explosion! The Legacy of Jackson Pollock | Abstract Critical

What we have, then, is art that tends to lose itself out of bounds, tends to fill our world with itself, art that in meaning, looks, impulse seems to break fairly sharply with the traditions of tge back to at least the Greeks. Rob Ford, Canadian politician. But I used the words “almost absolute” when I spoke of the diaristic gesture as distinct from the process of judging each move upon the canvas.

If the end had to come, it came at the wrong time. It may be that our need to identify with the process, the making of the whole affair, prevents a concentration on the specifics of before and behind so important in a more traditional art.

Janine Antoni, Loving Care, Performance.