New York : Museum of Modern Art ; Distributed in the U.S. and Canada by Harry N. Abrams , c1998.
336 p. : ill. (some col.), ports. ; 26 x 31 cm.
"Published on the occasion of the exhibition Jackson Pollock, organized by Kirk Varnedoe, Chief Curator, with Pepe Karmel, Adjunct Assistant Curator, Department of Painting and Sculpture, The Museum of Modern Art, New York, November 1, 1998 to February 2, 1999. The exhibition travels to the Tate Gallery, London, March 11 to June 6, 1999"--T.p. verso.
Includes bibliographical references (p. 330-332) and index.
This book accompanies the first retrospective exhibition in over 30 years of the most influential American painter of the 20th century. By the late 1940s, Jackson Pollock's "drip technique" had made him one of the central figures of the New York based Abstract Expressionists. Eliminating all recognizable imagery and painterly techniques, Pollock dripped paint from a stick or can, resulting in a web of interlacing lines that created all-over images of richness and complexity. The myth suggests that he worked in a drunken, haphazard fashion; this mythology has now been reassessed. The essay by Varnedoe examines how the legend of Pollock the "action painter" has been constructed. He charts the development of Pollock's aesthetic and situates it within its art and historical context. A second essay, by Pepe Karmel, provides insight into the "drip technique", revealed through an intensive, computer-assisted study of photographs amd films of Pollock at work. Sixty documentary photographs illustrate this essay. (source: Nielsen Book Data)