Pollock

El marco teórico de este trabajo se centra en el desarrollo, en el análisis y en la muestra de la actividad de Peggy Guggenheim de manera cronológica, prescindiendo de aquellos datos biográficos que no sean de estricta necesidad para la comprensión de su labor como mecenas, alejándome así de las consideraciones machistas y patriarcales que en ocasiones han sido aportadas por la historiografía convencional, la cual se ha basado en recalcar su actividad sexual relegando a un segundo plano su importantísima labor como coleccionista y promotora de las artes.

Abstract of the book:

Questo libro racconta i modi di preparazione della pittura. Descrive i processi che gli artisti compiono, nei loro studi, per trasmutare istanze e significati di materie elementari, acqua, terra, aria e fuoco. È la cucina della pittura. James Elkins, professore e pittore, esamina quadri di Leonardo, Tiziano, Tintoretto, Rembrandt, Monet, Dubuffet, Francis Bacon, Lucien Freud. Ne rileva gli ingredienti, le dosi, gli utensili, ma anche la gestualità e gli umori. Ricette difficili da tramandare, come in ogni cucina che si rispetti, che qui hanno una chiave di volta nel confronto con l’alchimia, cultura dei comportamenti e delle trasformazioni della materia. Elkins va incontro agli storici dell’arte, che si sentono a disagio con gli “impasti” dell’opera, ma vorrebbero capirci di più. Reinterpreta la filosofia dell’immaginazione. E soprattutto dota i semiologi di nuovi strumenti d’analisi, in grado di esplicitare i programmi narrativi della pittura: operazioni concatenate – macerare, miscelare, separare, distillare… – e transizioni di fase – congelazione, sublimazione, precipitazione, putrefazione. Ecco un libro per pensare la pittura dall’interno, prima che diventi historia e per l’incidenza che ha su di essa.
C’è una scienza del concreto che finora non ha avuto il giusto credito.

Resumen

La obra “De cómo Nueva York robó la idea de arte moderno” de Serge Guilbaut    reproduce el alcance del compromiso y la lucha que se dieron en torno al expresionismo abstracto y la preocupación de los artistas por resolver los problemas de la creación simbólica.
Fue un momento de crisis no sólo en lo económico, sino también en lo ideológico y simbólico. Un periodo que obligó a reorganizar completamente las formas de consumir y producir cultura como también los modos de entender el mundo. Los norteamericanos, vieron en esto una oportunidad, después de la guerra construyeron y solidificaron una tradición cultural de la que carecían. Nació así la Escuela de Nueva York o Action painting –el Expresionismo abstracto, que tuvo en Willem de Kooning y Jackson Pollock a sus principales representantes, y Arshile Gorky a quien se reputa como el líder y precursor de este movimiento.
Dr. Adolfo Vásquez Rocca

For several centuries, the most common Western painting format was a stretched (and primed) canvas. From the end of the sixteenth century until the middle of the twentieth, the canvas by and large remained attached to a wooden frame and preparatory layers were applied. In this article, I examine some of the consequences and possibilities that arise from the absence of one these two components: the stretcher. I look at uses of raw and unbound canvas during the painting process, particularly at the way they changed the position of the artist’s body with regard to the canvas support and tools. The shift between stretched and unstretched modified the painter’s stance (from parallel to the support, to perpendicular or crossed, inducing a downward view) and introduced an awareness of the body and of the support. It modified the relationship between the painter and the canvas, so that the handling of the canvas became a component in painting techniques. I also emphasize that the removal of the stretcher opened up possibilities that continue to foster artistic inquiry.

Abstract Adult and juvenile (age-1) walleye pollock (Gadus chalcogrammus) were sampled by the US NOAA Alaska Fisheries Science Center summer bottom trawl survey in 2010, 2017, 2018, and 2019 in the northeastern and southeastern Bering Sea, with profiles of temperature collected concurrently. Similarly, the Russian Research Institute of Fisheries and Oceanography, Pacific branch, collected adult and juvenile pollock and temperature profiles on summer bottom trawl surveys in the northwestern Bering Sea. Results from these surveys show that adult pollock abundance in recent years (2017, 2018, 2019) has increased in northern regions of the Bering Sea shelf in both the US and Russian sectors. Lower abundances, compared to historic means, were observed in southern regions of the shelf, suggesting the pollock moved directionally from the south to the north. We relate changes in pollock distribution in recent intermediate (2017) and warm, low-ice years (2018–2019) to a prior cold, high-ice year (2010) and describe how these observations relate to our longer time series. We link temperature data from bottom trawl surveys (US and Russian), sea-ice indices (retreat timing and extent), as well as model-based estimates of ocean circulation to changes in pollock distribution and examine potential environmental factors driving the observed changes. Changes in sea-ice and bottom temperature (e.g., reductions in ice extent and shrinking of the cold pool), and changes in circulation (stronger northward currents over the northeastern shelf in warmer years, particularly in 2018) led to changes in distributions of adult and age-1 pollock. Adult pollock were concentrated north of St. Lawrence Island and had larger longitudinal distributions in warm years, 2017–2019; whereas they had a more southerly and narrow distribution over the outer shelf in the cold year, 2010. Age-1 pollock had higher densities over the inner eastern shelf in 2017–2019 compared to 2010. Northward flow around St. Lawrence Island (particularly in the spring) alternated between stronger flow on the west side of the island in 2010 and 2017 and stronger flow on the east side of the island in 2018 and 2019; variations in flow may have impacted the location of prey and movement of feeding pollock to the Chukchi Sea. Size structure comparisons between NW, NE and SE sections of the Bering Sea shelf suggest that movement of fish between US and Russian waters may have been highest in 2019, one of the two warmest years, and lowest in 2010, the coldest year. Spatial comparisons of distributions and size structure across the Bering Sea help provide a comprehensive view of factors affecting the movement of this highly important commercial fish species.

Going back to medieval spirituality seems to be a common feature of the artistic currents, claimed from romanticism: expressionism, abstract expressionism or neo-expressionism. In romanticism the aspiration toward the absolute was obvious. In expressionism the place dedicated to the divinity is found here empty, and art becomes a cry of despair in the face of solitude. Abstract expressionism will not even try to aim for transcendence, but will probe the interiority, subjectivity and reaction of the human being in the midst of being. However, there are artists in the abstract expressionism whose art expresses the harmony of the human being in the middle of the cosmos. An example is the art of J. Pollock for which not only the artistic image itself, but also the technique, the dripping, and the means of working become expressions of the cosmic harmony. Along with art, in science (F. Capra) or in medieval mysticism there is the same need of communion with nature, spiritualization of the world, which is the first step on the path to divinity.

At first excluded in the semiotics studies, the expression of a text is
explored by the concept of semi-symbolism. However, not all the effects of meaning
derived from this plane can be described using the semi-symbolic analysis. Our work
explores this limitations in the study of abstract art.

A fractal analysis was performed on various paintings by Pollock in order to show some of the challenges that are involved in using this technique in the process of authentification. The reason for using fractal analysis is the fact that Pollock’s paintings present a fractal dimension that increases over time and thus could prove valuable in the validation of the date of a specific painting. Based on a modification of traditional Box Counting Method from the HarFA soft using Digital Image Processing with Matlab the various fractal dimensions were obtained. Using different parameters we were able to show the variations that arise in the fractal analysis implying that this technique needs to be accompanied by other methods and is in need of standardization.

Transcript of a semi-informal public conversation between Pollock and Kelly with contributions from Landon Mackenzie, Sara Diamond and Judith Mastai. Feminist positions on essentialism, language, recognition and discovery, power and "mastery", disaffirmative and strategic practice, marxism, history, modernism and postmodernism, audience and community are discussed. With an introduction by Iversen. 23 bibl. ref.