Jackson Pollock, Brooklyn Museum, Metropolitan Museum discussed on The Art Newspaper Weekly

Automatic TRANSCRIPT

And finally this week. The latest in all series lemony works in which we look at artworks museums. Close because of the corona virus this week. We're returning to the met because the British artist one in has chosen Jackson pollock's autumn rhythm number thirty from nine hundred fifty one of the great drip paintings bullet made in a prolific period between nine hundred forty eight thousand nine hundred fifty one and you can see images of the work as we discuss the art newspaper. Dot Com Click on the link on the homepage and look for this episode. Why did you choose? Autumn Rhythm by Polit- well because of its initial impacts of of its continuing impact when I got him revisit. But it's very much attached to my memory of saliva went to New York in one thousand nine hundred eighty and mobike given over the entire building to a huge Picasso. Retrospective so the kind of abstract expressionism. One of the girls in New York a lot. What could be moved to the Brooklyn Museum at the back of a Metropolitan Museum in in quite a promising? I'm proficient kind of interim rooms and I think policy cafe remember even being displayed on a sort of a Hessian coverage cut of temples. There it was you know. And so I have a huge fullness for for that work and that moment and that was kind of one of the one of those completely satisfying experiences looking at work about actually was the sort of rather sort of unlikely slightly disjointed experience getting and then seeing what part of it in a way because it's an enormous is it's an enormous paintings and it's one of politics biggest. It is it. Is it almost fainting? And Yeah I'd probably dealing with my own fatigue kind of consuming so much all in the Metropol in the museum and you kind of lock in itself is quiet shattering and then yeah with the dossier of energy left. I found myself in this space and of course it it is its own kind of Zone bomb. Full that came before it. You know. It's one of the things I mean. It seems to talk about purity when it comes to pollock but it seems to me that ultimate Amisi in a way the period the paintings is this search finesse and elegance in those marks isn't there there is there is. I mean I think. Hearing about in reading about him. Looking at reproductions and but somehow in ones mind's eye early on you you have excellent deal pollock and quite often. Don't quite match up to this Pollock initially this is an Polo. It does everything that you have a high it would do. Yeah it it has nothing nothing. Impose opponent Blue Poles to the other things you know. It's that's a kind of like they feel a little bit too much of an imposition on. This is this is a a as a purist and the actually kind of confused onto the statements. He made about what he intended to do. The painting has a life of its own and he's obeying that sense. Yeah it's it's extraordinary. Moving experience I had you seen the namath film of Him. Making Autumn Rhythm before you saw the picture so in a way where you invested in the myth of Before you had this encounter with the word yeah I mean I think I think I saw it on foundation course so you know you have the missing and you kind of I think in my generation had to go drip painting and just an and the results Jerry horrible you know and and everything about that moment you know because you know he's painting up so then could be pretty turgid really you know and so it was like in one bound he was free and and you know inspiration revelation Everything in those terms come comes together And that move from the ground up on the wall. I mean this is a yeah. It's like a physical metaphysical shift. There are no other paintings that do lie. And and so so it's rhythms and it's a line is as much to do with between pollock's gesture what gravity and everything else add to movements it. It's a perfect summation really. Yeah Yeah and of course. It came to the tate in nineteen ninety nine for a spot of extraordinary Jackson. Pollock exhibition I want to do you remember seeing in that show did in a way you've seen in this space in the Matt as you say we've visited it but seeing in your on your own turf as it were wanted. That experience was like it was wonderful but actually quite attached to to to wear is you know I mean I suppose one thinks of the National Gallery and the Titan serves to the Matt a moment you know. Those are funny. Somebody at the end of a post impressionism beginning of cubism. The is somewhere between them between the remits. You know and so yeah because it feels bowl the only one of its kind species in that the natural history of painting in the in that place that I don't like to sink and that speaks to what the reason we're doing this because all these museums currently shot and we want to in a way bring people's minds and is back to these paintings and thinking about this is crucial. Isn't it the space in which works? It's one's memories of a work have also bound up with the physical. Experience is visiting not just looking at him absolutely absolutely. I mean I remember another time. I was staying with some friends and Canal Street early nineties and decided I was. GonNa walk away to the met and I've got some new sandals which would shredding my fate by the time I got sick to central park so it really was a very painful pilgrimage. You know still worth it. Did you feel like you're on the on the road to Yoga? Es Telling US statistic took it took Find out more about awesome at met Museum Dot Org.

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