Text: Donald Wigal
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ISBN: 978-1-78310-748-3
Donald Wigal
Jackson Pollock
Veiling the Image
Acknowledgement
The author acknowledges Ruth Kligman; Athos Zacharius; the ArtChroniclesoftheSmithsonian; Jerry Saltz, VillageVoice art critic; photographer Robin Holland; artists James Cullina of ArtSleuth, Bob Stanley, Kathy Segall, and Bill Rabinovitch; authors Carmel Reingold, James Robert Parish, George Sullivan, Susan Waggoner, and William Kuhns; agents Stephany Evans, Elaina Zucker, Robert Markel; Barlow Hartman and Mercedes Ruehl; James Yohe of Ameringer/Yohe/FineArt; Tina Dickey, editor of the HansHofmannCatalogueRaisonn; Maggie Seildon of JasonMcCoyGallery; Cheryl Orlick of the Albright-KnoxArtGallery; Bradley D. Cook of IndianaUniversityArchives; Jennifer Ickes of the NewOrleansMuseumofArt; Isabelle Dervaux, Curator of Modern and Contemporary Art, NationalAcademyMuseum; Verity Hawson, Lillian Kiesler, Cornelia Sontag, Brangre Mardel, and Eliane de Srsin of ParkstonePress; for research support, Bro. Frank ODonnell, Edie LaGuardia Hansen, Dr. Mark Cooper and Gene Carney; Vera Haldy for German translation; Herbert Verbesey and Gerard Sullivan for the Latin dedication; Antonio Bautista, Michael Morris; Cheryl Murray of EntertainmentLawDigest; also, AlternativeResearch for on-line research; Richart Taylor and his Jackson Pollock center at the University of Oregon.
Thanks to Catherine OReilly for her dedication, generosity, meticulous and expert editorial input on this and a dozen books over the past 25 years.
Dedication
I dedicate this work to these colleagues with whom I share a common bond. They generously made my work this past year possible: Tom Brenn, Paul Cibrowski, Joe Clark, Richard Csarny, Jim Cullina, Gene Carney, Jim DeVito, Joe Fagan, Bill Gannon, Brian Griffin, Bob Higdon, John Kane, Mel Kubander, Joe LaSala, Joe Manzo, Joe Maurer, Charlie Miller, Bob Moriarty, SM, Frank ODonnell, SM, Andy Oravets, Frank Poliafico, Bob Schult, Bruce Segall, Rhett Segall, John Spellman, Brian Trick, Herb Verbesey, Joe Wessling, Ken White, and Jim Wolf. Gestascumsociisresmeminissejuvat. (It delights me to remember all the things we shared together).
Donald Wigal
Manhattan, 2005
CONTENTS
The writer has tried to be accurate in referencing. However, there are very likely errors here, especially in the chronological order of events, and the titles and dates of works. For the first two years or so after publication, corrections and updates may be available in English from .
Abbreviations
AbEx | Abstract Expressionism |
AOTC | Art of This Century, Manhattan |
Benton | Thomas Hart Benton |
Guggenheim | Peggy Guggenheim |
Krasner | Lee Krasner |
MoMA | Museum of Modern Art, Manhattan |
Pollock | Jackson Pollock |
Foreword
E ach of the four sections of this book refers to a span of at least ten years. Each subsection, usually covering one year, opens by noting historical events relative at least indirectly to Pollock, or offers some significant backdrop to his life. Events named within that year are not necessarily presented here in strict chronological order. This book should not be relied on for trying to create a strict chronology of details.
Although several interviews and over twenty biographies of Pollock were referred to while researching this work, when referring to Pollock s biographers without specific names, the reference is to the extensive work of Naifeh & Smith. Likewise, de Kooning s biographers always refer to Stevens & Swan. Peggy Guggenheim s biographer always refers to Mary V. Dearborn.
Untitled(Self-portrait), 1931-1935.
Oil on gesso on canvas, mounted on fibreboard, 18.4 x 13.3 cm ,
The Pollock-Krasner Foundation, New York .
Itisjustamatteroftimeandworknowformetohavethatknowledgeapartofme.AgoodseventyyearsmoreandIllmakeagoodartist. Age |
Introduction
Fifty years ago the artist Jackson Pollock died, but he lives on in his biographies and especially in his work. However, much of his genius was expressed by how he veiled the visible while he unveiled the invisible.
A survey of the main events of Pollocks life might lift some of the veils from his troubled soul and his amazing work, as well as explain somewhat his turbulent times. However, this overview offers no definitive explanation for either Pollocks behaviour or his genius. It is intended to offer an opportunity to stand before the man and his oeuvre and be perplexed by the negatives, in awe of the positives, and aware of the ambiguities.
However, it may be that by veiling himself and his art as he so uniquely did, Pollock paradoxically revealed much of his interior life, thereby making it possible to see and better understand therein something of his spiritual journey if not also something of the universal human journey.
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