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Jakson Pollock Exhibition in Rome

The "Complesso of Vittoriano" presents an anti-conformism, psychological introspection and experimentation exhibition about Jackson Pollock and the greatest representatives of the New Drawing School of New York.  

From October 10 to January 6, 2019,, the Ala Brasini of Complesso Vittoriano will host one of the most precious artworks of the collection of the Whitney Museum in New York: Jackson Pollock, Mark Rothko, Willem de Kooning, Franz Kline and many other representatives of the New York Drawing School. In Rome with all the energy and the breaking character that made them eternal and unforgettable "Irascible".

 Through about 50 masterpieces - including the famous Number 27, Pollock's large canvas, over 3m long, made iconic by the masterly balance between the brushstrokes of black and the fusion of the clearest colors - vivid colors, harmony of shapes, subjects and abstract representations immerse observers in a magnificent artistic context: abstract expressionism.

 

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Jackson Pollock and the art of dripping 

"Dripping" is a particular pictorial technique invented by the American artist Jackson Pollock.

It consists in the dripping of color on large canvases placed on the ground, which are painted with the movement of the hands, but also of the whole body.

 

For this reason, in addition to the artistic purposes for which it was born in the forties, dripping is a technique that can be used in the field of art therapy, as it has some useful features in the resolution of some problems in the socio-pedagogical.

 

Painting according to the style of "dripping" means creating a large group in a group in which several people participate; it also means learning to move safely, together with others, to obtain a valid artistic result.

 

 

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The thesis sums up all this by tracing the history of the origin of dripping, with the artists who have dealt with this way of painting, reporting a concrete experience of laboratory made with children.

 

Dripping is a technique that revolutionizes artistic practice, but also the concept of work that becomes the trace of a process more or less controlled by the artist.

 

 

 

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Tiger 1949 is one of the first works in which he uses commercial paints: the unprepared canvas absorbs the first web of black marks, Pollock then drips the orange, yellow, green signs which are alkyl colors modified in oil.

 

The final white signs obtained by squeezing the color from the tube.

 

In the '50s the improved acrylic colors (ie emulsions and no more solutions) became ideal for dripping because fluids, high covering power and chromatic intensity.

 

Even when he uses the brushes he does it as if they were sticks from which the color drips, there is no lack of imprint of hands and different materials such as buttons, cigarette butts, matches, nails, coins.

 

 

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Pollock's style 

Jackson Pollock belongs to one of the two main artistic orientations of the late twentieth century American: action painting - painting-action - included in the definition of "abstract expressionism".

 

The second predominant line - and contrary in several respects to action painting - will be the development, later, of Pop Art.

 

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With abstract expressionism we mean a deforming violence in the representation that, in the case of Pollock, is not figurative, as in the expressionists of early twentieth century - and we mention, first of all, Munch, as an example, remembering the deformed structure of "The Scream" - but produces paintings in which no form of figuration is recognizable, but a sort of primitive transfer of violent psychic energy, which fights , with the filling of the whole canvas an equally primitive "fear of emptiness" (horror vacui). Each artist's artwork is totally "full".

 

Fundamental, in the drafts, is the action carried out by the whole body in the presence of the canvas, which recovers an active, complete, totally involving, ritual and shamanic action, differentiating itself from the painter who, in front of the easel, transfers, delicately small quantities of color and reality.

 

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The success of Pollock's art precedes and connects the anthropological aspect to the birth and development of alternative art of the "Beat generation".

 

With these terms, the writer Jack Kerouac defined, in 1948, an alternative band of the youth world, unconventional, underground that often sought an identity in the America more distant, culturally.

 

The adjective beat meant tired or downcast and often referred to the Afro-American community; it was a matter of transforming a very intense latent energy into anger, action and new modes of cultural representation.

 

Pollock contributed to create, even in an autonomous path, iconographic paths that created the image of an era characterized by protest, by action, by the rejection of consumerism, by the recovery of pre-bourgeois values.

 

 

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Pollock's chaos 

Jackson Pollock is the artist of chaos as well, because with his technique of "dripping" (dripping and splashes of color on the canvas lying on the ground) he will succeed in bringing American art to its peak.

 

Pollock, after reading Jung's writings, persuades himself that the sphere of art is the unconscious: it is the great reserve of the vital forms, to which only through art can one draw; and moreover through this technique he leaves a certain margin to chance, without which there is no existence.

 

The case is freedom compared to the laws of logic, but it is also the necessary condition for which unforeseen situations are faced at any moment. Salvation is in the ability to live with clarity the randomness of events. Action Painting, along with Jazz music, has made an important contribution to modern civilization, because it breaks all the patterns of traditional painting.

 

 

 

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Pollock uses oil colors, synthetic enamels and aluminum paints, spraying them with cotton balls, painter brushes and pieces of wood.

 

On a gray-black background of metallic coloring various interweaving of red and yellow shades are arranged. On all appear eight black segments that give the title to the picture. The content of the artworks is therefore concentrated in these conflicts: the blue, symbol of space and serenity, which can not appear, the poles that fail to take a secure and stable form.

 

 

 

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Pollock's language

The iconoclastic language - which represented a moment of rupture of European experiences - was also successful because it was considered an authentic expression of the new American frontier.

 

Unlike the natives, who let the dust from the fingers or the fist slide out in a controlled way, Pollock gives strength to the color that drips on a canvas - placed in many cases on the ground to avoid the fall and dragging of the pigments in the case of a vertical position - drops or directs sprays with brushes or sticks, with undulating movement, with a ritual encircling action of the support, through which he tends to cover the entire surface, canceling the white spaces and a single directionality of the painting.

 

The action painting was such because he, like a primitive shaman, used the whole body to direct the color, remaining standing and turning progressively around the canvas. This technique was defined dripping, that is dripping, even if the dripping constitutes only one part of the complex creative progress of the master.

 

 

 

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The exhibited artworks come from the Whitney Museum in New York.

 

The exhibition is produced and organized by the Arthemisia Group and curated by Luca Beatrice.

 

Summary

Exhibition title: Jackson Pollock 

Location: The Complesso of Vittoriano, Rome

Curator: Luca Beatrice

Dates: October 10 , 2018 > January 6, 2019 

Info and tickets: www.ilvittoriano.com