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Journal articles on the topic 'Jackson Pollock'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

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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3

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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4

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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5

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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7

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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8

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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11

Leja, Michael. "JACKSON POLLOCK: REPRESENTING THE UNCONSCIOUS." Art History 13, no. 4 (December 1990): 542–65. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00415.x.

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Stephen, Ann. "Jackson Pollock for Australia only." Australian Journal of Art 14, no. 2 (January 1999): 1–26. http://dx.doi.org/10.1080/03146464.1999.11432861.

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13

Lueder, Christoph. "Thinking between diagram and image: the ergonomics of abstraction and imitation." Architectural Research Quarterly 15, no. 1 (March 2011): 57–67. http://dx.doi.org/10.1017/s1359135511000364.

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The work of the American painter Jackson Pollock speaks to us not only through exhibitions of paintings hung on gallery walls, but also through the films and photographs [1] of Hans Namuth which exposed Pollock's phased working process to the public. In the first of two distinct phases Pollock is seen immersed in, and in intimate interaction with, a large horizontal canvas. This records traces of his movement and expressive gestures in heterogeneous media. A second phase is then triggered by a pivotal operation: the horizontal recording and working surface is transposed to a vertical viewing plane. Leo Steinberg recounts that Pollock: ‘would tack the canvas on to a wall – to get acquainted with it, he used to say; to see where it wanted to go. He lived with the painting in its uprighted state, as with a world confronting his human posture’.
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Fajnwaks, Fabian. "Jackson Pollock, le dripping comme sinthome." La Cause Du Désir N° 82, no. 3 (2012): 111. http://dx.doi.org/10.3917/lcdd.082.0111.

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15

Gullickson, Terri. "Review of Jackson Pollock: "Psychoanalytic" Drawings." Contemporary Psychology: A Journal of Reviews 38, no. 8 (August 1993): 872. http://dx.doi.org/10.1037/033655.

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16

Taylor, Richard P., Adam P. Micolich, and David Jonas. "The Construction of Jackson Pollock's Fractal Drip Paintings." Leonardo 35, no. 2 (April 2002): 203–7. http://dx.doi.org/10.1162/00240940252940603.

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Between 1943 and 1952, Jackson Pollock created patterns by dripping paint onto horizontal canvases. In 1999 the authors identified the patterns as fractal. Ending 50 years of debate over the content of his paintings, the results raised the more general question of how a human being could create fractals. The authors, by analyzing film that recorded the evolution of Pollock's patterns as a function of time, show that the fractals resulted from a systematic construction process involving multiple layers of painted patterns. These results are interpreted within the context of recent visual perception studies of fractal patterns.
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Dominiczak, Marek H. "Emotions: From Jackson Pollock to Contemporary Science." Clinical Chemistry 62, no. 6 (June 1, 2016): 903–4. http://dx.doi.org/10.1373/clinchem.2015.253096.

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18

Doyon-Bernard, Suzette. "Jackson Pollock: A Twentieth-Century Chavín Shaman." American Art 11, no. 3 (October 1997): 9–31. http://dx.doi.org/10.1086/424302.

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Roazen, Paul. "Reflections on psychoanalysis, creativity, and Jackson pollock." American Journal of Psychoanalysis 55, no. 1 (March 1995): 41–51. http://dx.doi.org/10.1007/bf02741951.

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20

Golan, Jenna, Tefera Belachew, Abonesh Taye Kumsa, Getu Gizaw, and John Hoddinott. "Development and Validation of Skinfold-Thickness Equations for Predicting Body Fatness in Ethiopian Adults." Current Developments in Nutrition 4, Supplement_2 (May 29, 2020): 833. http://dx.doi.org/10.1093/cdn/nzaa053_038.

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Abstract Objectives Both body fat and lean body mass have important roles in health and wellbeing. It is crucial that researchers and clinicians can accurately measure them, especially in nutritionally vulnerable populations such as people living in rural areas of Ethiopia. Skinfold thickness measurements are one of the few methods to measure % body fat outside of a clinical setting. The validity of the measurements is dependent upon age, sex, and ethnicity. The existing skinfold thickness equations are derived from populations of European descent. This study will demonstrate that existing equations are not valid for Ethiopian adults and create new, sex-specific equations for this population. Methods Skinfold thickness will be measured on 250 adults recruited from Jimma City, Ethiopia. Percent body fat will be calculated using several existing skinfold thickness equations. For women, the equations are the Sloan; Jackson, Pollock, & Ward; and Durnin and Wormsley. The equations for men are Sloan; Jackson and Pollock; and Durnin and Wormsley. The results of these equations will then be compared against % body fat measured by a BodPod. Pearson's correlation coefficient and Bland-Altman plots will be used to assess the validity of each calculation. Stepwise forward regression will be used to determine new sex-specific equations. Results In women, the Sloan equation had moderate correlation (0.59) while Jackson, Pollack, and Ward and the Durnin and Wormsley equations had near-perfect correlation (0.81 and 0.88 respectively). In men, the Sloan equation had substantial correlation (0.79) while the Jackson and Pollack and the Durnin and Wormsley had near-perfect correlation (0.89 and 0.85 respectively). Scatter and Bland Altman plots showed that all equations underestimated the % body fat measured compared to a BodPod requiring new equations. For women: body density = 1.068892 − 0.00088 x −0.0005412 y − 0.0012765 z. Where x is the skinfold thickness at the suprailiac crest, y is thigh, and x is subscapular. For men: body density = 1.08899 −0.0014585 m −0.0008318 n. Where m is abdominal skinfold thickness and n is thigh skinfold thickness. Conclusions The current most commonly used skinfold thickness equations are not valid for use in Ethiopian adults. The equations put forth in this analysis should be used for this population. Funding Sources H.E. Babcock Fund, NIDDK/NIH.
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Gervais, D. "Review: Jackson Pollock at the Tate Gallery, March-June 1999: Jackson Pollock at the Tate Gallery, March-June 1999." Cambridge Quarterly 30, no. 1 (March 1, 2001): 77–81. http://dx.doi.org/10.1093/camqtly/30.1.77.

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22

Reed, David. "Jackson Pollock and Piero della Francesca Ride Lonesome." Journal of Contemporary Painting 1, no. 1 (April 1, 2015): 41–53. http://dx.doi.org/10.1386/jcp.1.1.41_1.

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23

Salcman, Michael. "Number 8, 1949, by Jackson Pollock (1912–1956)." Neurosurgery 51, no. 3 (September 2002): 838–39. http://dx.doi.org/10.1227/00006123-200209000-00047.

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Buchanan, Mark. "Jackson Pollock fractals painted in a new light." New Scientist 196, no. 2629 (November 2007): 11. http://dx.doi.org/10.1016/s0262-4079(07)62817-6.

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Salcman, Michael. "Number 8, 1949, by Jackson Pollock (1912???1956)." Neurosurgery 51, no. 3 (September 2002): 838–39. http://dx.doi.org/10.1097/00006123-200209000-00047.

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26

Silva, Sara Gomes da. "Jackson Pollock e a descoberta do inconsciente na arte americana do pós-guerra." ARS (São Paulo) 12, no. 24 (December 24, 2014): 21. http://dx.doi.org/10.11606/issn.2178-0447.ars.2014.96736.

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Este artigo situa Jackson Pollock, uma das figuras mais importantes do Expressionismo Abstrato, no quadro do debate, caraterístico dos anos 1950 e 1960, sobre a relação entre arte e vida. Analiso, nesse contexto, os limites da crítica face a um pintor que nos deixou inúmeros testemunhos sobre o papel do inconsciente no seu processo criativo. Qual o lugar reservado pela crítica, à época, para essa via de interpretação? Procurando responder a essa questão, o artigo põe em confronto as diversas perspectivas dos críticos e relaciona-as com a reflexão de Pollock sobre si mesmo.
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27

Chaulagain, Yashoda. "Visual Position and Juxtaposition: An Analytical Study of Liberty Leading the People and Moon-Woman Cuts the Circle." Tribhuvan University Journal 32, no. 2 (December 31, 2018): 191–202. http://dx.doi.org/10.3126/tuj.v32i2.24715.

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This paper explores the idea of romantic and modern painting with the reference of Delacroix’s painting “Liberty Leading the People” and Jackson Pollock’s painting “Moon Woman Cuts the Circle”. Both painters representing different era, portray different styles, background, color, tempo, and textures in their painting. Delacroix’s painting expresses inner emotions and realistic world. His painting is emotional, it seems to be natural and exotic. He has used arches, sculptures, and gray color dominantly. In contrast to Delacroix, Pollock’s painting is experimental. It has abstraction and two-dimensionality. It looks rational that represents the frustrated and chaotic world in abstract form. In this sense, Delacroix’s painting “Liberty Leading the People” represents the liberty, equality, and fraternity. A woman personifying the concept and the goddess of liberty leads the people forward over the bodies of the fallen men holding the flag of the French Revolution. On the other hand, Jackson Pollock’s painting “Moon Woman Cuts the Circle” reflects the modern world representing woman the symbol of peace, color tempo suggests the domination of violence and bloodshed. The weapon shows the domination of the power which is violent. Delacroix’s painting suggests the hope of change and bright future but Pollock seems to be pessimistic in his painting.
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Fonseca, Paulo Henrique Santos da, João Carlos Bouzas Marins, and Alexandre Tavares da Silva. "Validação de equações antropométricas que estimam a densidade corporal em atletas profissionais de futebol." Revista Brasileira de Medicina do Esporte 13, no. 3 (June 2007): 153–56. http://dx.doi.org/10.1590/s1517-86922007000300005.

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O objetivo deste estudo foi validar equações que estimam a densidade corporal em atletas profissionais de futebol. Foram avaliados 25 atletas profissionais de futebol, com idade de 22,7 ± 4,4 anos, massa corporal de 73,9 ± 6,6kg e estatura de 177,8 ± 5,5cm que disputavam o campeonato estadual da Federação Gaúcha de Futebol no ano de 2004. Analisou-se a validade de 11 equações antropométricas através dos procedimentos estatísticos: correlação de Pearson (r), teste t dependente, erro constante (EC), erro total (ET) e erro padrão estimado (EPE), tendo como técnica gold standard a pesagem hidrostática. Na presente pesquisa, das 11 equações analisadas, somente as propostas por Jackson e Pollock (1978), de três e sete dobras cutâneas, responderam aos critérios de validação. Assim, conclui-se que as equações de Jackson e Pollock são válidas para a estimativa da densidade corporal em atletas profissionais de futebol; as outras equações analisadas neste estudo apresentam erros consideráveis nessa estimativa.
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Harshkant Gharote, Kumar Pushpanshu, Rachna Kaushik, and Radhika Gharote. "Estimation of Body Fat Percentage in Oral Squamous Cell Carcinoma." International Healthcare Research Journal 2, no. 11 (February 25, 2019): 291–96. http://dx.doi.org/10.26440/ihrj.v2i11.207.

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BACKGROUND: The purpose of this study was to calculate the body fat percentage and learn its relationship with body mass index in oral squamous cell carcinoma. MATERIALS AND METHOD: the study comprised of 31 oral squamous cell carcinoma patients and 28 controls. Body mass index was calculated for each individual by recording the height (in meters) and weight (in Kilograms). Prediction equations given by Deurenberg, Gallagher and Jackson-Pollock were used to calculate body fat percentage. RESULTS: Definite correlation between body fat percent and body mass index was found in oral squamous cell carcinoma and controls. Comparisons of body fat percentages between both groups were found to be statistically significant in Gallagher (p = 0.04) and Jackson-Pollock (p = 0.03) equations. CONCLUSION: This study suggests that body fat percentage can be a useful indicator for assessing severity of lipolysis due to cachexia in cancer patients. The study can help in evaluating nutritional status during postoperative care of cancer patients.
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Salcman, Michael. "Composition with Pouring II, by Jackson Pollock (1912–1956)." Neurosurgery 50, no. 4 (April 1, 2002): 921–22. http://dx.doi.org/10.1097/00006123-200204000-00056.

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31

Schreyach, M. "Intention and Interpretation in Hans Namuth's Film, Jackson Pollock." Forum for Modern Language Studies 48, no. 4 (September 20, 2012): 437–52. http://dx.doi.org/10.1093/fmls/cqs026.

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32

Schreyach, Michael. "Pre-objective Depth in Merleau-Ponty and Jackson Pollock." Research in Phenomenology 43, no. 1 (2013): 49–70. http://dx.doi.org/10.1163/15691640-12341243.

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Abstract Pollock’s drip technique generated certain unconventional representational possibilities, including the possibility of expressing the pre-reflective involvement of an embodied, intentional subject in a perceptual world. Consequently, Pollock’s art can be understood to explore or investigate the pre-objective conditions of reflective and intellectual consciousness. His painting—here I consider Number 1, 1949—motivates viewers to consider the relationship between intention and meaning as it appears in both primordial and reflective dimensions of experience. The account proceeds in three stages. First, I review key features of Merleau-Ponty’s concept of the pre-objective and attempt to clarify the reflexive nature of investigating it by considering his analysis of Paul Cézanne’s technique. Second, I consider Pollock’s technique and some critical responses to it, while analyzing some of its implications for a notion of pictorial address. Finally, I examine the perceptual effects of Number 1, 1949 and interpret them, following Merleau-Ponty’s lead, in view of a revised understanding of the relationship between automatism and intention.
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Pašić, Goran, Goran Grahovac, and Milomir Trivun. "COMPARISON OF METHODS FOR DETERMINING PERCENTAGE OF BODY FAT ON A SAMPLE OF KAYAKERS AND CANOEISTS – IN SLALOM." Sportlogia 16, no. 1 (December 17, 2020): 91–109. http://dx.doi.org/10.5550/sgia.201601.en.pgt.

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Determining body structure in physical culture, sports, but also in sports recreation is one of the ways to check effectiveness of certain training programs and their impact on a percentage of subcutaneous fat and fat-free components. This study was conducted on a sample of 49 kayakers and slalom canoeists (aged 19.9 ± 1.7 years), and the aim was to compare validity of methods for estimating percentage of body fat based on the skinfold measurement method in relation to the bioelectrical impedance method for application in diagnostics within a training process of slalom kayakers and slalom canoeists. The percentage of body fat was determined by methods of determining the percentage of body fat according to Siri (1961), Brozek et al. (1963), Jackson, & Pollock, (1985) and the BIA bioelectrical impedance method. After statistical procedures, correlation analysis revealed a high correlation between the methods: anthropometric methods according to Siri and Brozek, both methods with the Jackson Pollock method, while all three methods have a high level of correlation with the BIA method, while the Wilcoxon test showed that the bioelectrical impedance method had statistically significantly higher values than the method of determining the percentage of body fat according to Siri & Brozek (p <0.001), and significantly lower than the method of determining the percentage of body fat according to Jackson Pollock (p = 0.005). The research showed that in the observed sample of respondents, when it comes to one respondent, a group of respondents, respondents within one sport or an uneven sample of non-athletes, if it is not possible to use some of the more sophisticated BIA methods, a satisfactory method could be the skinfold measurement method.
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Aristizabal, Juan C., Alejandro Estrada Restrepo, and Argenis Giraldo García. "Development and validation of anthropometric equations to estimate body composition in adult women." Colombia Médica 49, no. 2 (January 1, 2018): 154–59. http://dx.doi.org/10.25100/cm.v49i2.3643.

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Objective: To develop anthropometric equations to predict body fat percentage (BF%) in adult women. Methods: In 151 women (aged 18-59) BF% was obtained by hydrodensitometry with simultaneous measurement of lung volumes. Body weight, height, eight- skinfold thickness (STs) and six- circumference (CIs) measurements were obtained from all participants. Subjects data were randomly divided in two groups, equation-building group (n=106) and validation group (n=45). The equation-building group was used to run multiple linear regression models using anthropometric measurements as predictors to find the best prediction equations of the BF%. The validation group was used to compare the performance of the new equations with those of Durnin-Womersley, Jackson-Pollock and Ramirez-Torun. Results: There were two preferred equations: Equation 1 = 11.76 + (0.324 x tricipital ST) + (0.133 x calf ST) + (0.347 x abdomen CI) + (0.068 x age) - (0.135 x height) and Equation 2 = 11.37 + (0.404 x tricipital ST) + (0.153 x axilar ST) + (0.264 x abdomen CI) + (0.069 x age) - (0.099 x height). There were no significant differences in BF% obtained by hydrodensitometry (31.5±5.3) and Equation 1 (31.0±4.0) and Equation 2 (31.2±4.0). The BF% estimated by Durning-Womersley (35.8±4.0), Jackson-Pollock (26.5±5.4) and Ramirez-Torun (32.6±4.8) differed from hydrodensitometry (p<0.05). The interclass correlation coefficient (ICC) was high between hydrodensitometry and Equation 1 (ICC=0.77), Equation 2 (ICC=0.76), and Ramirez-Torun equation (ICC=0.75). The ICC was low between hydrodensitometry and Durnin-Womersley (ICC=0.51) and Jackson-Pollock (ICC=0.53) equations. Conclusion: The new Equations-1 and 2, performed better than the commonly used anthropometric equations to predict BF% in adult women.
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Kedl, Justin. "Cowboys: Abstract Expressionism, Hollywood Westerns, and American Progress." Arts 12, no. 1 (February 14, 2023): 33. http://dx.doi.org/10.3390/arts12010033.

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Abstract Expressionism has been influenced heavily by the popular theory of America’s undying, progressive spirit, originally conceived by Frederick Jackson Turner and given its most potent form in Western films. Turner’s “Frontier Thesis” was embodied in stories of John Wayne and other cowboy heroes taming the supposed edges of civilization. The mythic West as constructed by Turner and these films cemented American identity as one of exploration and innovation, with the notable condition of Indigenous Americans ceding their sovereignty. While Abstract Expressionism was commonly connected to the mythic West through the origin stories of Jackson Pollock and Clyfford Still, the critical understanding of this movement as the height of painterly achievement built on Native American precedents evinces a deeper connection to Turner’s popular Frontier theory. As critics like Clement Greenberg cast flatness as the last frontier of painting, and as artists like Pollock and Barnett Newman claimed Native American ritual practices as a part of their aesthetic lineage, Abstract Expressionism proved as effective as Hollywood Westerns in corroborating and perpetuating the idea of America’s frontier spirit.
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Johnson, Diane. "Jackson Pollock: An American Saga. Steven Naifeh , Gregory White Smith." Archives of American Art Journal 29, no. 3/4 (January 1989): 61–64. http://dx.doi.org/10.1086/aaa.29.3_4.1557733.

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37

Jackson, Andrew S., Ken J. Ellis, Jill A. Bush, Ian Turpin, Fred Miller, Margaret Callie, and Molly S. Bray. "Cross-validation And Calibration Of Jackson-Pollock Equations With DXA." Medicine & Science in Sports & Exercise 37, Supplement (May 2005): S302. http://dx.doi.org/10.1249/00005768-200505001-01579.

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Jackson, Andrew S., Ken J. Ellis, Jill A. Bush, Ian Turpin, Fred Miller, Margaret Callie, and Molly S. Bray. "Cross-validation And Calibration Of Jackson-Pollock Equations With DXA." Medicine & Science in Sports & Exercise 37, Supplement (May 2005): S302. http://dx.doi.org/10.1097/00005768-200505001-01579.

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39

Sweet, David LeHardy. "Parodic Nostalgia for Aesthetic Machismo: Frank O'Hara and Jackson Pollock." Journal of Modern Literature 23, no. 3 (2000): 375–91. http://dx.doi.org/10.1353/jml.2000.0019.

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40

Khandekar, Narayan, Carol Mancusi-Ungaro, Harry Cooper, Christina Rosenberger, Katherine Eremin, Kate Smith, Jens Stenger, and Dan Kirby. "A Technical Analysis of Three Paintings Attributed to Jackson Pollock." Studies in Conservation 55, no. 3 (September 2010): 204–15. http://dx.doi.org/10.1179/sic.2010.55.3.204.

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Coddington, Jim, and Jennifer Hickey. "Seeking Aesthetic Balance: The Restoration of Three Jackson Pollock Paintings." Getty Research Journal 9, S1 (January 2, 2017): 79–98. http://dx.doi.org/10.1086/695869.

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42

Langhorne, Elizabeth. "The Magus and the Alchemist: John Graham and Jackson Pollock." American Art 12, no. 3 (October 1998): 47–67. http://dx.doi.org/10.1086/424328.

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43

Mundloch, Katrin, Marie Winterberg, Wanja Hemmerich, Philipp Holzwig, Anna Rupanova, Alice Schönewolf, Nina Winands, Heiko Hecht, and Jasmina Stevanov. "Do happy faces really modulate liking for Jackson Pollock art and statistical fractal noise images?" Psihologija 50, no. 3 (2017): 219–37. http://dx.doi.org/10.2298/psi1703219m.

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Flexas et al. (2013) demonstrated that happy faces increase preference for abstract art if seen in short succession. We could not replicate their findings. In our first experiment, we tested whether valence, saliency or arousal of facial primes can modulate liking of Jackson Pollock art crops. In the second experiment, the emphasis was on testing another type of abstract visual stimuli which possess similar low-level image features: statistical fractal noise images. Pollock crops were rated significantly higher when primed with happy faces in contrast to neutral faces, but not differently to the no-prime condition. Findings of our study suggest that affective priming with happy faces may be stimulus-specific and may have inadvertent effects on other abstract visual material.
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Bergamaschi, Alessandra. "O Fantasma de Jackson Pollock: Os estranhos movimentos do pintor pelas lentes do cinema." Aniki: Revista Portuguesa da Imagem em Movimento 9, no. 1 (January 11, 2022): 4–29. http://dx.doi.org/10.14591/aniki.v9n1.796.

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O artigo se propõe analisar o filme experimental de Hans Namuth, Jackson Pollock 51, sobre o processo de Pollock na fase do dripping. Ao longo do texto serão evidenciados os desajustes entre a tentativa de capturar o segredo dos movimentos do artista em volta da tela e as opacidades introduzidas pela câmera, que ao invés de mostrar mais, paradoxalmente, desnaturaliza o olhar. Os casos de Matisse, que percebe a “estranha excitação” do gesto de sua mão no filme de François Campaux (1946), e da atuação de Picasso no filme de Georges Clouzot, O Mistério Picasso (1956), servirão como contrapontos para explorar o tema da mediação da pintura operada pela imagem em movimento, nesse momento de transição entre o modernismo e as práticas dos anos 1960, quando os artistas exploraram a potência do gesto e de seus duplos na performance, na videoarte e na body art.
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45

Sarriugarte Gómez, Íñigo. "De las Drip-Paintings de Jackson Pollock a la Forma Abierta de Earle Brown: Interconexiones metodológicas en los años de la Escuela de Nueva York." Vegueta. Anuario de la Facultad de Geografía e Historia 22, no. 1 (February 7, 2022): 325–46. http://dx.doi.org/10.51349/veg.2022.1.16.

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A partir de la Segunda Guerra Mundial, se fue gestando el nacimiento de la Escuela de Nueva York, donde una serie de músicos y pintores empezaron a desarrollar nuevas pautas experimentales, lo que facilitaría el surgimiento del Expresionismo Abstracto. Earle Brown (1926-2002), partiendo del análisis del dripping en las pinturas de Jackson Pollock en base a la espontaneidad, lo aleatorio y la libertad de ejecución e interpretación diversificada, desarrolló la forma abierta en las pautas musicales, donde se facilitaba la libertad del intérprete en el momento de la ejecución musical y se articulaban propuestas cargadas de una multiplicidad de ejecuciones diversas. The end of World War II ushered in the gradual emergence of the New York School, where a number of musicians and painters began to develop new experimental approaches, leading to the advent of Abstract Expressionism. Taking his lead from an analysis of spontaneity, randomness, freedom of execution and interpretative diversity observed in the dripping of Jackson Pollock’s paintings, Earle Brown (1926–2002) developed the open form of musical composition and notation, where the musician was given freedom of interpretation at the time of musical performance and the score itself proposed a multitude of different ways for the piece to be performed.
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Firestone, Evan R. "American Letters 1927-1947: Jackson Pollock & Family (review)." Modernism/modernity 19, no. 1 (2012): 203–5. http://dx.doi.org/10.1353/mod.2012.0006.

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47

Galenson, David W. "Was Jackson Pollock the Greatest Modern American Painter?: A Quantitative Investigation." Historical Methods: A Journal of Quantitative and Interdisciplinary History 35, no. 3 (January 1, 2002): 117–28. http://dx.doi.org/10.1080/01615440209601202.

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RAMPLEY, M. "Identity and Difference: Jackson Pollock and the Ideology of the Drip." Oxford Art Journal 19, no. 2 (January 1, 1996): 83–94. http://dx.doi.org/10.1093/oxartj/19.2.83.

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Coelho, Tiago Da Silva. "Rastros do Realismo Socialista na América:." Fronteiras: Revista Catarinense de História, no. 30 (June 11, 2018): 30–47. http://dx.doi.org/10.36661/2238-9717.2017n30.8188.

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A preocupação social da arte no continente americano na primeira metade do século XX pode certamente ser relacionada com a influência exercida pelo muralismo mexicano e de ecos do realismo socialista difundidos por partidos políticos e por movimentos artísticos. Esta preocupação foi sensível tanto nos Estados Unidos quanto no Brasil das décadas de 1930 e 1940, podendo ser rapidamente observadas pelas trajetórias de Jackson Pollock e Candido Portinari. Palavras-chave: Realismo Socialista, Arte Social, Revolução Russa.
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Codell, Julie. "Nationalizing Abject American Artists: Jackson Pollock, Lee Krasner, and Jean-Michel Basquiat." a/b: Auto/Biography Studies 26, no. 1 (January 2011): 118–37. http://dx.doi.org/10.1080/08989575.2011.10846800.

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