Flinging his colors onto the canvas, pouring and dripping his paints in a quintessentially American gesture, Jackson Pollock redefined the art of painting. It was the fate of Pollock's gesture to be mimicked, modified, and denied by artists of immense stature. Drawing from twenty years of experience as an art critic in New York, Carter Ratcliff ...
Flinging his colors onto the canvas, pouring and dripping his paints in a quintessentially American gesture, Jackson Pollock redefined the art of painting. It was the fate of Pollock's gesture to be mimicked, modified, and denied by artists of immense stature. Drawing from twenty years of experience as an art critic in New York, Carter Ratcliff maps the Manhattan art world, revisiting the world of studios, galleries and artist's bars where these personalities met and clashed. Over the story looms the monumental and tragic figure of Pollock, the measure of all who have felt compelled to challenge him.
Very Good in Very Good jacket. Hardback Many black & white photos of artwork and some color. Nice, clean condition. Back cover of dust jacket shows some light wear. Hardbound, 352 pgs.
Publishers Weekly, 1996-11-04 Ratcliff (Andy Warhol) argues that Pollock's drip paintings, created with paint flung onto canvasses, evoke a uniquely American "sense of limitless possibility" because they "draw the imagination into a region of boundless space." In this provocative survey of one line of development in postwar American art, he traces Pollock's career, analyzes his style and discusses subsequent painters in whose work he sees the same tendency toward the infiniteæBarnett Newman, Andy Warhol, Robert Morris, Richard Serra, Robert Longo, Julian Schnable and Brice Marden, among others. The relationship of some of these paintersæsuch as Willem de Kooning and Helen Frankenthaleræto Pollock is obvious; in other instances, the connections are more tenuous. Ratcliff asserts, for example, that the repetitious boxes and cubes of minimalists such as Sol Le Witt resemble Pollock's drip paintings because they could go on forever and thus imply the infinite, and that a flag by Jasper Johns "has the scale of a drip painting by Pollock" because it is "a national banner infinitely large." His thesis provides fresh perspective on modern American art. Illustrations not seen by PW. (Dec.)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders.