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Why’d They Put That In A Museum?
Show Notes

field of densely interlaced threads of paint offset by pools and splashes of color

Artist: Jackson Pollock (1912–1956)

Item: One: Number 31, 1950

Details: Oil and enamel paint on canvas, 8ft 10 in. x 17ft 5 ⅝ in. (Museum of Modern Art, New York)

Jackson pollock in action painting in a black and white photo

Jackson Pollock One Number 31-1950

Drips of shiny paint in black, white, gray, and brown are layered in a dense and rhythmic mesh of splattered paint in Jackson Pollock’s painting One: Number 31, 1950. A lot of people have looked at it and said, “My Kindergartener could have made that.”  So why is such a seemingly chaotic artwork worthy of museum placement? Why is it significant in the history of art? Podcast hosts Beth Bacon and Sarah Lees look at Jackson Pollock’s art, and talk about why it’s worthy of being in a museum. They discuss its context in the abstract expressionism movement and the artist’s techniques of dripping paint. Along the way, they consider public perceptions, art world dynamics, artist branding, and how Pollock’s legacy continues to inspire and provoke.

Face of artist Jackson Pollock above one of his paintings

Why Is Pollock’s One, Number 31, 1950 in a Museum?

The Enigmatic Appeal of Jackson Pollock

Many people encounter Pollock’s work and ask, “Why is this in a museum?” At first glance, the seemingly chaotic splatters of paint might resemble something a child might create. Sarah Lees explains in this podcast that the painting has a complexity, and intentionality that justifies its significance. What’s more, Pollock’s technique also introduces a radical new way of thinking about the act of painting.

Painting on the Ground

Pollock’s painted on an unprimed canvas laid flat on the ground. In doing so, he broke away the centuries-old tradition in Western art of placing a canvas upright on an easel. With the canvas placed flat and below, Pollock could drip, fling, and splash enamel paint. He could use sticks rather than brushes to transfer the paint. And changing up the technique changed the outcome.  The result captures a moment of artistic action. The art has a powerful energy. This idea is encapsulated in the term “Action Painting,” because looking at the paint drippings, a viewer can easily picture the artist’s movements.

Pollock’s Style

At first glance, to a casual viewer, Pollock’s painting  One, Number 31, 1950  may have a haphazard, chaotic appearance. But Pollock’s works demonstrate a methodical distribution of paint across the canvas. This meticulous approach was full of intention. The density of the paint is uniform. Look at the sides of the painting. Pollock deliberately avoided the edges.  This is part of his intended composition, which implies a frame within a frame.

From Prototypes to Paintings

Pollock’s early work was influenced by Native American art, surrealism, and the symbolic imagery he encountered before fully embracing abstraction. This evolution highlights his journey from depicting mythological subjects to pushing the boundaries of painting as a representation of the artist’s subconscious.

Behind Pollock’s Tangles

The depth of Pollock’s influence lies in more than just his technique. As his career developed, his work garnered attention from notable figures in the art community, including influential art critics and gallery owners like Peggy Guggenheim. In 1949, a Life Magazine feature suggested Pollock was the greatest living painter in the United States. All of this notoriety, reinforcing his celebrity status. This was well before the days of social media influence, but the effect was similar to a story that has gone viral. Success for Pollock hinged on influential connections and publicity.

The Power of Connection

Pollock’s legacy continues to inspire discussions about what constitutes artistic value. A fascinating aspect was his access to opportunities through associations with Lee Krasner and Clement Greenberg. Hans Namuth is a filmmaker who documented Pollock’s process. In part of the film, Pollock painted on a large sheet of glass while Namuth filmed underneath, allowing the viewers to immerse themselves in the process.

Does Art Have to Be “Liked”?

Sarah and Beth discuss the personal reactions audiences might have to Pollock’s work. Art inspires varied reactions, from aesthetic appreciation to emotional introspection. Museums remain spaces for reflection, evoking a multitude of responses from different viewers.

Jackson Pollock’s One, Number 31, 1950 can challenge viewers. No matter what you think if it, the painting is part of a pivotal moment in art history, where the act of painting became as significant as the finished product. Whether admired for its creativity or questioned for its chaos, Pollock’s work demands attention and serves as a catalyst for thought. Check out this masterpiece on the MoMA website and reflect on its impact.

Let us know your thoughts on Pollock’s journey into abstraction and its resonance today. Visit “Why’d They Put That in a Museum?” and join the conversation.

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About the Podcasters

Sarah Lees, Art curator and researcher

Sarah Lees

Sarah is a museum curator and researcher who has worked in organizations both large and small, and who remembers her first assignment for an art history class – to look into Rembrandt’s eyes and describe what she saw there. She believes everyone can find those kinds of connections to some form of creative expression, whether it’s a painting, a grandmother’s quilt, or a perfectly formed pen-stroke in a manuscript.

Beth Bacon

Beth Bacon

In addition to being an avid museum-goer, Beth Bacon is an author for young readers. Her books empower today’s kids to learn about themselves and the world through reading. She is also a teacher and branding consultant and a volunteer at the Missouri History Museum. Beth holds an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts, an MA in Communication Arts from NYU, and a BA in Literature from Harvard University.  

Music Credit

The music you hear in the intro and outro was composed by Edward Whelan. We appreciate his contribution to our podcast.

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