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Full-Text Articles in Arts and Humanities
The Crisis Of Jackson Pollock’S Mural As A Painting, Michael Schreyach
The Crisis Of Jackson Pollock’S Mural As A Painting, Michael Schreyach
Michael Schreyach
Critics frequently describe Pollock’s allover painted fields, especially those he began producing after 1947, as absorbing or engulfing the viewer, occasioning a sensation of being immersed within an all-encompassing visual environment. His paintings are said to establish so powerful a continuity between viewer and painting that the distinction between them collapses, generating a feeling of what the psychologist Anton Ehrenzweig notoriously described as “undifferentiated oceanic envelopment.”1 Pollock’s works, he continued, “enveloped the spectator inside the picture plane,” producing a “manic experience of mystic oneness.”2 In them, “pictorial space advances and engulfs [the viewer] in a multi-dimensional unity where …
‘I Am Nature’: Science And Jackson Pollock, Michael Schreyach
‘I Am Nature’: Science And Jackson Pollock, Michael Schreyach
Michael Schreyach
An attempt has been made to determine the authenticity of some newly discovered paintings that may be by Jackson Pollock on the basis of a belief that his art incorporates fractal patterns seen in the natural world. This is only the latest in a long line of interpretations of his works in terms of references to nature, as Michael Schreyach discusses.
Pre-Objective Depth In Merleau-Ponty And Jackson Pollock, Michael Schreyach
Pre-Objective Depth In Merleau-Ponty And Jackson Pollock, Michael Schreyach
Michael Schreyach
Pollock’s drip technique generated certain unconventional representational possibilities, including the possibility of expressing the pre-reflective involvement of an embodied, intentional subject in a perceptual world. Consequently, Pollock’s art can be understood to explore or investigate the pre-objective conditions of reflective and intellectual consciousness. His painting—here I consider Number 1, 1949—motivates viewers to consider the relationship between intention and meaning as it appears in both primordial and reflective dimensions of experience. The account proceeds in three stages. First, I review key features of Merleau-Ponty’s concept of the pre-objective and attempt to clarify the reflexive nature of investigating it by considering his …