john tung pollock no.5
TRANSCRIPT
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 1/13
SAMPLE ASSESSMENT FORM: Level 1 Arts ManagementProgramme(WRITTEN ASSIGNMENT)
To be completed by Examiner.Student Name:TUNG ZHIWEN JOHN
Programme: Arts Management
Student ID Number:11511
Module/ Component: AM 1101 (History of VisualArts)
Title of Assessed Work:Pollock’s No.5, 1948 Learning Outcomes:
o an understanding of the historical and contemporary context of the arts and its definitions;
with knowledge of music, theatre, dance and visual arts history across different periods andregions.
o a working vocabulary of artistic and management terminology.
o the ability to find, select and use information on visual materials in their historical contexts.
o the knowledge and understanding of self-awareness, openness and sensitivity to diversity in
terms of people and cultures.
Deadline: 29 October 2009 Submission Date:
Weightage: Total Marks (100%)
Examiner’s Name: Jeffrey Say
Criteria (based on assignment brief) %Mark/100
Mark(%)
Remarks
Content and strucrure:Research evidence, use of written andvisual sources, relevance, structureand flow of information,introduction/conclusion
50
Style and languageClarity, grammar, language andspelling
30
ReferencingFootnoting, bibliography 10
PresentationQuality of visuals, layout, formatting 10
Attendance & ParticipationBonus for regular attendance + activeclass participation (Up to a maximumof 5 marks) To be considered at the end of the
semester/year
TOTAL
Please underline where appropriate:
Irregular Attendance below 70%/ Late Submissions/ Resubmission
(If any of the above has been underlined, the maximum mark for the assignment will be capped at 40marks)
All marks are provisional and subject to confirmation by the examination board
Signature: Date:
Verified by Programme Coordinator/Manager(Name/ Signature)
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 2/13
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 3/13
would be a series of paintings bearing his signature “pour
technique”. His unique style of painting would later on lead to his
moniker – Jack the Dripper.2
Pollock can be considered one of the most influential and
controversial artists of the 20th century with his paintings as iconic
as his fits of rage and alcoholism. His struggles with alcoholism and
troubled marriage to Lee Krasner would lead to psychoanalysis by
Jungian psychiatrists. Being familiar with the writings of Jung as well,
Pollock is believed to have incorporated Carl Jung’s philosophy into
his paintings. Famed for saying “the problem isn’t painting; it’s what
to do when you aren’t painting,”3 Pollock died as a result of an
alcohol related driving accident on the 11th of August 1956.
The painting in question, No. 5 , 1948, was a composition of
oil, enamel and aluminum paints on a fiber board. The size of the
image can be considered immense in size though he had paintings
of even larger scales. The painting bears base layers of black and
grays followed by fine lines of white drizzled over the fiberboard.
The lines of brown applied and finally fine trails of yellow that stand
out strongly from the background of earthy colours. The application
of layer upon layer of paint creates a sense of depth and volume in
the painting. Furthermore, by covering the fiber board to ensure no
identifiable parts or points of emphasis, Pollock’s name became
2 "2." Monday, Feb. 20,
1956.http://www.time.com/time/magazine/article/0,9171,808194-2,00.html (accessed
29/10/09).3 http://www.jackson-pollock.com/biography2.html (accessed 29/10/09).
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 4/13
synonymous with the introduction of the All-over style of painting.4
This broke Pollock away from traditional ideas on composition and
relation between parts in a painting.
Like his other post-1947 works, Pollock used a combination of
his pour technique in combination with his style of action painting so
as to create No. 5 , 1948. To do so, Pollock would first lay out the
fiber board on the floor of his studio before he begun to drip and
splash paint upon it. To Pollock, this “method of painting was a
natural growth out of need” arising from his desire to “express his
feelings rather than to illustrate them.”5 Pollock felt that changing
times required the emergence of new techniques to encapsulate
accurately the spirit of the contemporary times. Furthermore, by
laying the board on the ground, his motion was less restricted,
allowing him to work from all sides and hence, incorporate himself
better into the painting.
While this style of painting was remarkably received by the
press6 due to the challenge it posed towards traditional perceptions
of painting, not all were pleased with Pollock’s style. Bruno Alfieri
made the following statement about Pollock’s works in general:
“chaos/absolute lack of harmony/complete lack of structural
organization/total absence of technique, however rudimentary/once
again, chaos.”7
4 Wyo, Cody. http://www.jacksonpollock.com/bio.shtml (accessed 29/10/09).5 Narration spoken by Jackson Pollock. Namuth, Hans. Pollock Painting .
1951.6 Alfieri,Bruno. Jackson Pollock: The Irascibles and the New York School . Skira , 20027 Naifeh,Steven. Jackson Pollock: An American Saga. 3 ed. Woodward/White,
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 5/13
Yet despite Alfieri’s condemnation of Pollock’s work deeming it
chaos, studies by physicians Taylor, Micolich and Jonas from the
University of New South Wales Australia have determined that the
chaos as perceived by Alfieri was created with mathematical
precision. While the study of chaos theory in mathematics emerged
only more than ten years after the death of Pollock, exploration into
the nature of Pollock’s work has determined that some of the works
displayed properties of mathematical fractals – in short, breaking
down nature’s very own blueprint and using it as a basis to create
his own art – Fig 1.
Fig 1.(Left) Section of snow on ground (Centre) Section of forest (Right) Section of Pollock’s One: Number 31, 1950
As seen in figure one, the similarities are astounding. The same
is also true for the prized No. 5, 1948. Studies have shown that
Pollock’s work progressively becomes more fractal-like along with
Pollock’s career. To assume Pollock’s awareness of chaotic motion
Incorporated, 1998.
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 6/13
may not be far fetched at all. 8 9
To Pollock, the process of painting was as crucial in its artistry as
was the end product. His style of action painting was crucial in
depicting the subconscious and bring the conscious mind to
awareness of how it is shaped – a goal of Jungian analysis. Pollock
was also believed to have incorporated various visual symbols
indentified by Jung which are thought to connect individuals in
accordance to Jung’s principle of the “collective unconscious”. Since
Jung believed that the primitive man was more connected to this
“collective unconscious” as compared to the “civilized” man, the
style of action painting in which Pollock moves around the canvas is
reminiscent of Native American sand painting traditions where sand
is trickled in thin lines to make a design on a horizontal surface.
Hence from here it can be established that while Pollock’s work may
have no meaning as a stand-alone, his manipulation of Jung’s
symbols to be incorporated into his art may have been a mode in
which Pollock was attempting to understand himself in a Jungian
way.10
This is further substantiated by the fact that Pollack himself did
not label any of his techniques and styles himself. In fact, the term
8 Taylor, Richard. "Fractal Expressionism Can Science Be Used To Further Our
Understanding Of Art? Physics World (1999),
http://www.phys.unsw.edu.au/phys_about/PHYSICS!/FRACTAL_EXPRESSIONIS
M/fractal_taylor.html. (accessed October 28, 2009).9 Sept. 14,
2008.http://www.gogeometry.com/wonder_world/golden_rectangle_jackson_pollock
_5_1948.html (accessed 29/10/09).10 Mathews, Hans V.. "Pollock In Perspective Frontline 16. 14 (1999),
http://www.hinduonnet.com/fline/fl1614/16140700.htm. (accessed October 28, 2009).
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 7/13
“action painting” was coined by American art critic Harold
Rosenberg in 1952.11 Pollack himself had said, “It doesn’t make
much difference how the paint is put on as long as something has
been said. Technique is just a means of arriving at a statement.”12
When Ossorio first received the painting he noticed that a 6-by-
9-inch portion of the painting had slid leaving what was described
by Ossorio as a “non-descript smear amidst the surrounding linear
clarity.” The work was returned to Pollack for repair and when
Ossorio saw it once more three weeks later, he found “new qualities
of richness and depth… a result of thorough but subtle over-
painting.” Pollack’s careful reconstruction of the painting had not
only left the original concept entirely intact but re-affirmed it with
greater complexity and “linear interplay”. Furthermore, in complete
contradiction to the sentiments of Alfieri, Ossorio dubbed the work
“a masterful display of control and disciplined vision.”13
Yet, Ossorio’s statement pertaining to the touchup being “a
wonderful example of an artist having a second chance”14 may be
considered inaccurate according to Harold Rosenberg’s definition of
the genre. Ossorio failed to realize that his purchase was merely the
by-product of Pollack’s art which is the very action of painting No. 5,
1948 itself rather than the completed artwork. In light of this,
Pollack’s touch up of the piece may be viewed as solely to please
11 Rosenberg,Harold. The Tradition of the New. New York: Horizon Press, 195912 "The Technique of Action Painting in Jackson Pollock Paintings."
http://www.jackson-pollock.com/action-painting.html (accessed 28/10/09).13 Mancusi-Ungaro, Carol C.. Jackson Pollock: Response As Dialogue.14 Potter, Jeffrey. To A Violent Grave: An Oral Biography of Jackson Pollock . New
York: G.P. Puntnam's Sons, 1985.
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 8/13
the buyer. Rosenberg would spend the next two decades redefining
the art as an act as opposed to an object. 15
Since the sale of No. 5, 1948 to Ossorio in 1948, the painting has
passed through many a different collector/museum including
Samuel Irving Newhouse Jr., an esteemed publishing morgul, the
Museum of Modern Art, amongst others. The most recent
transaction of the painting is believed to be between David Geffen,
founder of Geffen Records and David Martinez, a Mexican financier.
While the deal was believed to be brokered by Sotheby’s auctioneer
Tobias Meyer for $140 million dollars to Martinez, Martinez claims
no ownership of the painting presently. Yet while the present owner
of the painting remains a mystery, should this deal be factual,
Pollack’s No. 5, 1948 would be at present the world’s most
expensive painting overtaking Gustav Klimt’s Adele Bloch-Bauer I
which was sold at a price of $135 million.16
It is thus evident that the understanding and appreciation of
Jackson Pollock’s work has increased greatly over time and even
though the works of the abstract expressionist painter may still hold
mysteries to be solved, continued study into his artworks would
shed greater light on the human condition.
15 "2." Monday, Feb. 20,
1956.http://www.time.com/time/magazine/article/0,9171,808194-2,00.html (accessed
29/10/09).16 Vogel, Carol. "A Pollock Is Sold, Possibly for a Record Price." New York Times.
Available from http://www.nytimes.com/2006/11/02/arts/design/02drip.html?
_r=1&adxnnl=1&ref=arts&adxnnlx=1163031599-revbGMuaIhdTP4qLonq8BA.
Internet; accessed 28 October 2009.
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 9/13
Works Cited
Jackson Pollock: Key Interviews, Articles and Reviews. New York: The Museum Of
Modern Art, 1999.
"2." Monday, Feb. 20,
1956.http://www.time.com/time/magazine/article/0,9171,808194-2,00.html (accessed
29/10/09).
http://www.jackson-pollock.com/biography2.html (accessed 29/10/09).
Wyo, Cody. http://www.jacksonpollock.com/bio.shtml (accessed 29/10/09).
Narration spoken by Jackson Pollock. Namuth, Hans. Pollock Painting . 1951.
Alfieri,Bruno. Jackson Pollock: The Irascibles and the New York School . Skira , 2002
Naifeh,Steven. Jackson Pollock: An American Saga. 3 ed. Woodward/White,
Incorporated, 1998.
Taylor, Richard. "Fractal Expressionism Can Science Be Used To Further Our
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 10/13
Understanding Of Art? Physics World (1999),
http://www.phys.unsw.edu.au/phys_about/PHYSICS!/FRACTAL_EXPRESSIONIS
M/fractal_taylor.html. (accessed October 28, 2009).
Sept. 14,
2008.http://www.gogeometry.com/wonder_world/golden_rectangle_jackson_pollock _5_1948.html (accessed 29/10/09).
Mathews, Hans V.. "Pollock In Perspective Frontline 16. 14 (1999),
http://www.hinduonnet.com/fline/fl1614/16140700.htm. (accessed October 28, 2009).
Rosenberg,Harold. The Tradition of the New. New York: Horizon Press, 1959.
"The Technique of Action Painting in Jackson Pollock Paintings."
http://www.jackson-pollock.com/action-painting.html (accessed 28/10/09).
Mancusi-Ungaro, Carol C.. Jackson Pollock: Response As Dialogue.
Potter, Jeffrey. To A Violent Grave: An Oral Biography of Jackson Pollock . New
York: G.P. Puntnam's Sons, 1985.
"2." Monday, Feb. 20,
1956.http://www.time.com/time/magazine/article/0,9171,808194-2,00.html (accessed
29/10/09).
Vogel, Carol. "A Pollock Is Sold, Possibly for a Record Price." New York Times.
Available from http://www.nytimes.com/2006/11/02/arts/design/02drip.html?
_r=1&adxnnl=1&ref=arts&adxnnlx=1163031599-revbGMuaIhdTP4qLonq8BA.
Internet; accessed 28 October 2009.
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 11/13
Index of Images
1.
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 12/13
No. 5, 1948 Jackson Pollock(1948)Oil, Enamel and Aluminum Paint on Fiber board
2.
8/6/2019 John Tung Pollock No.5
http://slidepdf.com/reader/full/john-tung-pollock-no5 13/13
Full Fathom Five Jackson Pollock(1947)First painting to utilize pour technique.Oil on canvas with nails, tacks, buttons, coins, cigarettes, etc