Relevant bibliographies by topics / Jackson Pollock

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Jackson Pollock'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Jackson Pollock"

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Muller, Toni, and Louise Stroud. "IDENTITY FORMATION AND ITS ROLE IN OPTIMAL HUMAN DEVELOPMENT: A PSYCHOBIOGRAPHICAL STUDY OF ARTIST JACKSON POLLOCK." New Voices in Psychology 10, no. 1 (November 15, 2017): 3–15. http://dx.doi.org/10.25159/1812-6371/3410.

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Celebrated artist Jackson Pollock challenged the concept of art by moving beyond paintbrush and easel to throwing paint across canvasses laid out on the floor, and using his entire body to create an abstract image. However, despite this capacity for originality, Pollock’s life was bracketed by severe binge drinking, alcoholism, and emotional instability. The importance of identity formation for healthy development is illustrated by a psychobiographical study of Jackson Pollock. Pollock’s difficulties in establishing a stable identity seemed to play an integral part in impeding a positive life course. The developmental theory of Erik Erikson was the lens through which Pollock’s life was studied, with a focus on Erikson’s proposed fifth stage of development, Identity versus Role Confusion. From the study it emerged that it was largely the individuals who surrounded Pollock who shaped him into what they wanted him to be with Pollock lacking the stable sense of self to protect him from a society that treated both him and the art he poured himself into as a commodity to be celebrated and vilified on whim. Alcoholism would cause his death at the age of 44, when, while heavily intoxicated, Jackson Pollock drove his car into a tree.
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Polcari, Stephen, Ellen Landau, Steven Naifeh, and Gregory White Smith. "Jackson Pollock." Art Journal 50, no. 1 (1991): 98. http://dx.doi.org/10.2307/777097.

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Munn, A. "John Jackson Pollock." BMJ 326, no. 7386 (February 22, 2003): 450f—450. http://dx.doi.org/10.1136/bmj.326.7386.450/f.

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Spence, S. A. "Exhibition: Jackson Pollock." BMJ 318, no. 7186 (March 20, 1999): 816. http://dx.doi.org/10.1136/bmj.318.7186.816.

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Hilsabeck, Burke. "Frank Tashlin's Jackson Pollock." Modernist Cultures 11, no. 2 (July 2016): 243–67. http://dx.doi.org/10.3366/mod.2016.0137.

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This paper situates Frank Tashlin's Paramount-produced Artists and Models (1955) alongside a genealogy of modernist painting. Beginning with the observation that the opening sequence of Tashlin's film burlesques Abstract Expressionist painting and Jackson Pollock in particular, it puts Artists and Models in conversation with Clement Greenberg's paint-on-a-flat-canvas modernism (and Greenberg's interest in articulating this modernism through the figure of Pollock) with a distinct account of cinematic specificity. The essay then places Tashlin's film and the figure of Jerry-Lewis-as-Jackson-Pollock in relation to Pop Art of the late 1950s and early 1960s. It concludes by suggesting that Tashlin's Pollock can help us to better think about the relationship between high modernism and mass culture.
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Fung, Kai-hung. "Ode to Jackson Pollock." RadioGraphics 32, no. 1 (January 2012): 70. http://dx.doi.org/10.1148/rg.321110590.

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Hartz, Lisa Beech. "Mural, Jackson Pollock, 1943." Pleiades: Literature in Context 40, no. 1 (2020): 141–42. http://dx.doi.org/10.1353/plc.2020.0030.

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Taylor, Richard. "Personal reflections on Jackson Pollock's fractal paintings." História, Ciências, Saúde-Manguinhos 13, suppl (October 2006): 109–23. http://dx.doi.org/10.1590/s0104-59702006000500007.

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The art world changed forever when Jackson Pollock picked up a can and poured paint onto a vast canvas rolled across the floor of his windswept barn. Fifty years on, art theorists recognize his patterns as being a revolutionary approach to aesthetics. A significant step forward in understanding Pollock's aesthetics occurred in 1999 when my scientific analysis showed that his paintings are fractal. Fractals consist of patterns that recur at finer and finer magnifications, building up shapes of immense complexity. Significantly, many natural patterns (for example, lightning, clouds, mountains, and trees) are also fractal. In this essay, I will present some personal reflections on this relationship between the fractal patterns of Pollock and those of nature, and also on the interactions between art and science as the project evolved.
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Cernuschi, Claude. "Jackson Pollock at MoMA: On the Surface and under the RugJackson Pollock. Kirk Varnedoe , Pepe Karmel , Jackson Pollock." Archives of American Art Journal 38, no. 3/4 (January 1998): 30–38. http://dx.doi.org/10.1086/aaa.38.3_4.1557780.

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Maruéjouls-Koch. "Tennessee Williams and Jackson Pollock." Tennessee Williams Annual Review, no. 14 (2014): 22. http://dx.doi.org/10.2307/48614950.

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Dissertations / Theses on the topic "Jackson Pollock"

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RAPOSO, KADIANA MENDES DE MEDEIROS. "JACKSON POLLOCK: DAEDALUS S WAY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17072@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
A obra pictórica de Jackson Pollock está geralmente associada à invenção do all over e das drip paintings na segunda metade da década de quarenta em Nova Iorque. De fato, tal é o momento de maestria da força poética de Pollock que, depois de anos de insistente busca da sua verdade, finalmente dá o salto que irá repotencializar toda a aventura plástica moderna, que naquele momento vivia um impasse. Esta dissertação propõe repensar o estudo da pintura de Pollock, seguindo pari passu o desenvolvimento do artista, desde o início nos anos trinta até as black paintings, último grande momento, buscando ver o que está sendo dito na obra e também o seu silêncio. O que torna-se realmente estimulante tendo-se em vista a musicalidade latente das pinturas. A pintura de Pollock deixa-se apresentar como um todo complexo, e à primeira vista contraditório, sobretudo pela diferença que marcam as fases de sua carreira. Entretanto, e aqui concentrou-se o meu esforço, visualizamos por entre o convulsivo das linhas labirinto, uma coerência na busca essencial do artista, qual seja, dar ritmo e vida à pintura. No caso de Pollock, isso tem um peso excepcional, uma vez que diz respeito a aspectos fundamentais da linguagem pictórica moderna. Jackson Pollock faz a maxima afirmação da pintura moderna no pós-guerra, e paradoxalmente, assinala um impasse que sua própria radicalidade acabou por gerar.
Jackson Pollock’s paintings are usually associated with the all over and drip paintings’ inventions during the mid-forties in New York. In fact, that’s the moment where his genius came to the most exciting period of his career. After years of struggling within, he finally “broke the ice” and started to reevaluate the plastic modern adventure. This dissertation is about Pollock’s paths, since the beginnings of the thirties until the black paintings, his last big period. At first, Pollock’s work seems complex and very contradictory, however, and that’s my point, if we see through this labyrinth a very coherent line lies underneath the appearance, in search for life and rhytms to his paintings. In Pollock’s case, it gains a special flavour for it deals with fundamental aspects of the modern alphabet. Jackson Pollock makes an assertion of the painting and paradoxically reveals an impasse that his own radical art generated.
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Kazepis, Tony. "From Jackson Pollock to theatre." Thesis, Federation University Australia, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/164863.

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Müller, Toni. "A psychobiography of Paul Jackson Pollock." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1554.

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While the value of psychobiographical research continues to be debated, interest in this area is growing on an international basis. From the ever increasing number of studies being conducted in connection with academic institutions in South Africa, the vitality and worthiness of studying lives lived in conjunction with the applicability of psychological theories is showing itself to be an exciting world in which to participate. This particular research study aimed to explore and describe the developmental life stages of Paul Jackson Pollock. Pollock was, and continues to be, a controversial figure in the art world as there is much debate over the artistic merit of his paintings. Unconventional in all that he did, Pollock challenged the art world by moving beyond paintbrush and easel to throwing paint across canvasses laid out on the floor. Around these emerging artworks he would move in a staccato dance, mesmerising those present by the way he made art immediate using his entire body to create the abstract image. Pollock is credited with being the pioneer of abstract expressionism in the United States, and to date his paintings are credited as being among the most expensive ever sold. He struggled with alcoholism and emotional instability throughout his teens and adult life. His alcoholism eventually caused his death at the age of 44 when, while heavily intoxicated, he drove his car into a tree a few metres from his home. No known literature has adopted an exclusively psychological stance when studying the life of this individual. The progression of Pollock’s lifespan development was filtered through Erikson’s (1950) theory of psychosocial stages. Erikson’s (1950) theory takes a holistic, biopsychosocial approach to human development, with an emphasis on ego development. Data was collected from both primary and secondary sources to enhance internal validity, and the data was then analysed according to Miles and Huberman’s 1994 general approach, taking Alexander’s (1990) nine identifiers of salience into necessary consideration. Using this framework, it was found that Jackson Pollock’s development coincides with Erikson’s theoretical psychosocial stage constructs, lending weight to Erikson’s theory. While Pollock’s life paralleled Erikson’s (1950) theory in many ways, the theory failed to provide enough definition with regards to constructs and intrapsychic processes. However, this study has also shown that there is great value and relevance to be found in Erikson’s (1950) theory, even though it was developed over fifty years ago.
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Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.

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The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
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Hardman, Andrew. "Studio habits : Francis Bacon, Lee Krasner, Jackson Pollock and Agnes Martin." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/studio-habits-francis-bacon-lee-krasner-jackson-pollock-and-agnes-martin(972d3759-4ecf-48d5-9995-beae9229348c).html.

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This thesis is about studio habits. Specifically, it considers what happens in practice in the artist's studio and ways in which creative acts have been visualised and disseminated. The chapters of this thesis are organised around views of the studios of four twentieth century painters: Francis Bacon (1908-1994), Lee Krasner (1909-1984), Jackson Pollock (1912-1956) and Agnes Martin (1913-2005). Each of these artists' studio habits has been fundamental to their respective mythologies and the studios they occupied in their lifetimes have inflected discussion of their work. Drawing on critical theories of sexuality, gender and space, this thesis argues that the idea of the artist as a master continues to dominate as an explanation of art-making but that this characterisation is called into question by these four artist's specific practices in the studio. Close readings of the studio habits in these case studies, considered here as a situated negotiation between artist and studio, challenges the idea of mastery that studio-view exhibits and images tend to promote. Notions of mastery are inclined to construct practice as a paradigm between an active artist and passive studio materials and these, in turn, are apt to be read in terms of masculinity and femininity, respectively. Thus, the role of studio artist has tended to privilege a male lead. Therefore, analysing particular performances of masculinity by these artists provides a means to contest reading studio-view images as statements of mastery and the damaging and inequitable connotations this designation implies. Furthermore, this thesis argues that the recent trend to preserve studio material, or to otherwise encompass traces of practice in exhibits, films and photographs, may be correlated with theoretical shifts which took place in latter half of the twentieth century as a response to philosophical losses entailed in the critique of authority and objecthood and the rise of performance and conceptual art practices.
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Tão, Sofia Inês Soares Fernandes. "Arte labiríntica e poética do caos: À volta do caos ordenado de Jackson Pollock." Master's thesis, ISPA - Instituto Universitário, 2012. http://hdl.handle.net/10400.12/2328.

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Dissertação de Mestrado apresentada ao ISPA - Instituto Universitário, na especialidade de Psicologia Clínica
A presente dissertação constitui-se como um exercício de Psicanálise Aplicada, sendo objecto do nosso estudo a análise e interpretação das obras clássicas de Pollock (1912/1956), pintor inserido na corrente do expressionismo abstracto. Partimos de um paradigma interpretativo psicanalítico visando inferir as forças e dialécticas subjacentes à Arte Labiríntica e Poética do Caos, desvelando indirectamente as dinâmicas internas do autor. Tendo por base a revisão de literatura e as teorias psicanalíticas, propomos uma leitura das obras sob o prisma da Arte e da Criatividade, salientando a análise dos processos de sublimação, reparação e a oscilação entre a dispersão e a integração, processo cuja síntese é o caos ordenado. Debruçamo-nos sobre o conceito de Caos e nos processos transformacionais, terapêuticos da criação pela Arte, da pintura/tela enquanto espaço potencial contentor de elaboração do material psíquico inconsciente. O objectivo deste ensaio prende-se com o estudo dos conceitos e problemáticas acima referidos, interligados e emparelhados numa leitura/análise interpretativa aprofundada pela via (inter)subjectiva – uma hermenêutica do sentido e significado – das obras/séries denominadas drip paintings (1947/1950) produzidas no auge das suas capacidades artísticas e criativas. ------ ABSTRACT ------ This dissertation constitutes an exercise of Applied Psychoanalysis, were the object of our study is the analysis and interpretation of abstract expressionist artist Jackson Pollock’s (1912/1956) major works. We start from an interpretative analytical paradigm aiming to infer the forces and dialecticals behind the Labyrinth Art and Poetry of Chaos, indirectly revealing the internal dynamics of the author. Based on the literature review and psychoanalytic theories, we propose a reading of the works through the standpoint of Art and Creativity, stressing the analysis of the processes of sublimation, repair and oscillation between dispersion and integration, in synthesis, ordered chaos. We address the concept of Chaos and transformational processes, therapeutic in creating through Art, where the painting/canvas is a potential holding space for unconscious psychic material. The purpose of this essay lies in the study of the above mentioned concepts and issues, paired and interconnected in a (inter)subjective interpretive analysis. - a hermeneutics of meaning and significance - of the works / series called drip paintings (1947/1950) produced at the height of Pollock’s artistic and creative abilities.
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LEVA, SHANNON ARMSTRONG. "JACKSON POLLOCK'S 1942 PAINTINGS: DEPICTIONS OF HERMAPHRODITIC UNION." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195578410.

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Mori-leite, Thiago. "Linguagem - intensidade - performance." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/1820.

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Made available in DSpace on 2016-03-15T19:42:06Z (GMT). No. of bitstreams: 1 Thiago Mori Leite.pdf: 2813630 bytes, checksum: 8ada9b1b61f043ea38d9e00285d1ab89 (MD5) Previous issue date: 2011-06-21
Fundo Mackenzie de Pesquisa
This paper presents an investigation regarding how the artistic languages of music and painting can share and exchange aesthetic elements related to the organization (or even, sometimes, the disruption) of language structures, executed by the artists during their creating process. Right after the Second World War, New York City was made home by artists who expressed themselves in different ways, a fact that made possible the emergency of many artistic movements, including two artistic vanguard that stood by improvisation and spontaneity in the creative process: John Coltrane‟s Free Jazz and Jackson Pollock‟s Action Painting. Both artistic movements have always been intertwined and supportive to each other. Although their languages belong to different arrays, its elements are transfigured among the two territories. Proposing an analysis in semiotic and aesthetic terms, this paper attempts to relate the main artistic elements in the performances of a jazz musician and an abstract expressionist painter: the intensity with which their works are produced throughout their improvisations. The documents, the main biographical references, including recordings of artists‟ performances - videos, discographies and pictures - used during the research are from the period between 1947 and 1967
Este trabalho parte de uma averiguação de como as linguagens artísticas da música e da pintura podem intercambiar elementos estéticos através do modo como os artistas organizam, ou, às vezes, desorganizam toda linguagem estrutural vigente durante o processo de criação de suas obras. Logo após a segunda grande guerra mundial, a cidade de Nova Iorque abrigava artistas de áreas distintas, fomentando o aparecimento de vários movimentos artísticos, entre eles duas vanguardas artísticas que se destacavam pelo improviso e pelo caráter de espontaneidade durante o processo criativo: o Free-Jazz de John Coltrane e a Action Painting de Jackson Pollock. Os dois movimentos artísticos sempre estiveram entrelaçados dando suporte um ao outro. Suas linguagens pertencem a matrizes diferentes, mas seus elementos se transfiguram nas duas esferas. Analisando semiótica e esteticamente as performances de um músico de jazz e de um pintor expressionista abstrato, este trabalho busca relacionar o elemento principal de suas artes: a intensidade com que produziam suas obras através de seus improvisos. Os documentos, as principais referências biográficas, inclusive os registros performáticos dos artistas vídeos, discografias e pinturas utilizados nesta pesquisa são do período compreendido entre 1947 e 1967
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Lynch, Regina. "Corporeal Modernity: Shared Concepts in the Work of Jackson Pollock, Martha Graham, and Merce Cunningham." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197560.

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Art History
M.A.
Although working in two different mediums, Jackson Pollock, Martha Graham, and Merce Cunningham created works during the 1940s and 1950s that share several analogous formal characteristics, as well as a body-centered process that reminded viewers of both the corporeality of the artists and of themselves. My thesis identifies and interprets the formal analogies evident in each the artists' approach to asymmetry, repetition, gravity, and space. I argue that the common aspects among the works of the three artists resulted from their participation in a shared modernist discourse circulating post-war America, especially in New York. This discourse provided the artists access to common sources of inspiration, such as the writings of Carl Jung, Native American imagery, and Asian cultures. Each of these elements characterizes the work of all three artists, along with similar ideas concerning the individual, national identity, and modern technology.
Temple University--Theses
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Berger, Doris. "Projizierte Kunstgeschichte Mythen und Images in den Filmbiografien über Jackson Pollock und Jean-Michel Basquiat." Bielefeld Transcript, 2007. http://d-nb.info/991632486/04.

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Books on the topic "Jackson Pollock"

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Oliver, Clare. Jackson Pollock. London: Franklin Watts, 2005.

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Matteo, Gabriele Di. Jackson Pollock. Milano: Charta, 2009.

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Pepe, Karmel, Pollock Jackson 1912-1956, Museum of Modern Art (New York, N.Y.), and Tate Gallery, eds. Jackson Pollock. New York: Museum of Modern Art, 1998.

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Jackson Pollock. New York: Abrams, 1989.

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Oliver, Clare. Jackson Pollock. New York: Franklin Watts, 2003.

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Jackson Pollock. London: Thames and Hudson, 1989.

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1912-1956, Pollock Jackson, ed. Jackson Pollock. New Haven [Conn.]: Yale University Press, 2012.

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Jackson Pollock. Milano: Charta, 2009.

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Venezia, Mike. Jackson Pollock. Chicago: Childrens Press, 1994.

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Spring, Justin. The essential Jackson Pollock. New York: Wonderland Press, 1998.

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Book chapters on the topic "Jackson Pollock"

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Cernuschi, Claude. "Pollock and Abstract Expressionism." In Jackson Pollock, 223–62. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-9.

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Cernuschi, Claude. "Surrealism." In Jackson Pollock, 43–102. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-4.

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Cernuschi, Claude. "Formative Work." In Jackson Pollock, 11–42. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-3.

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Cernuschi, Claude. "Pollock and Primitivism*." In Jackson Pollock, 207–22. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-8.

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Cernuschi, Claude. "The Black Pourings and After." In Jackson Pollock, 157–203. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-6.

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Cernuschi, Claude. "Conclusion." In Jackson Pollock, 317–20. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-11.

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Cernuschi, Claude. "The Poured Paintings." In Jackson Pollock, 103–56. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-5.

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Cernuschi, Claude. "Pollock's Influence." In Jackson Pollock, 263–316. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-10.

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Cernuschi, Claude. "Introduction." In Jackson Pollock, 1–7. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429034862-1.

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Lukes, Timothy J. "Reconstructing Beauty: Edward Hopper, Jackson Pollock, and Ornette Coleman." In Politics and Beauty in America, 189–226. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-02090-1_8.

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Conference papers on the topic "Jackson Pollock"

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Coddington, Jim, John Elton, Daniel Rockmore, and Yang Wang. "Multifractal analysis and authentication of Jackson Pollock paintings." In Electronic Imaging 2008, edited by David G. Stork and Jim Coddington. SPIE, 2008. http://dx.doi.org/10.1117/12.765015.

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Parkinson, Kailee, Afsaneh Minaie, and Reza Sanati-Mehrizy. "Recognizing Fractal Behavior in Jackson Pollock Artwork through Computer Vision." In 2020 Intermountain Engineering, Technology and Computing (IETC). IEEE, 2020. http://dx.doi.org/10.1109/ietc47856.2020.9249100.

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Babkin, K. V. "CRISES OF PERSONAL IDENTITY OF JACKSON POLLOCK AND THE BIRTH OF THE METHOD OF PAINTING ACTION." In ПСИХОЛОГИЯ ТВОРЧЕСТВА И ОДАРЕННОСТИ. Москва: Ассоциация технических университетов, 2021. http://dx.doi.org/10.53677/9785919160472_163_167.

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Al-Ayyoub, Mahmoud, Mohammad T. Irfan, and David G. Stork. "Boosting multi-feature visual texture classiffiers for the authentication of Jackson Pollock's drip paintings." In IS&T/SPIE Electronic Imaging. SPIE, 2011. http://dx.doi.org/10.1117/12.873142.

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Irfan, Mohammad, and David G. Stork. "Multiple visual features for the computer authentication of Jackson Pollock's drip paintings: beyond box counting and fractals." In IS&T/SPIE Electronic Imaging, edited by Kurt S. Niel and David Fofi. SPIE, 2009. http://dx.doi.org/10.1117/12.806245.

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6

Lee, Eun-Mi, and Kang-Hee Lee. "Proposal on Modified Jackson Pollock’s Art Therapy for Depression based on Center for Epidemiologic Studies Depression Scale." In Interdisciplinary Research Theory and Technology 2016. Science & Engineering Research Support soCiety, 2016. http://dx.doi.org/10.14257/astl.2016.122.25.

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Reports on the topic "Jackson Pollock"

1

Galenson, David. Was Jackson Pollock the Greatest Modern American Painter? A Quantitative Investigation. Cambridge, MA: National Bureau of Economic Research, March 2002. http://dx.doi.org/10.3386/w8830.

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