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“A Kinetic Pleasure”: Jackson Pollock’s Mural as Critical Intertext
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“A Kinetic Pleasure”: Jackson Pollock’s Mural as Critical Intertext
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Journal Article
“A Kinetic Pleasure”: Jackson Pollock’s Mural as Critical Intertext
2017
Overview
Many key parameters for Jackson Pollock’s “comet”-like trajectory first became established in 1943, the year he painted Mural. Close friendship with photographer Herbert Matter gave Pollock access to sculptor Alexander Calder and curator/critic James Johnson Sweeney, who recommended him to Art of This Century gallery. Concepts involving “a kinetic pleasure—the rhythmic gesture,” displayed at two Museum of Modern Art exhibitions held during the creation of Mural (each organized by Sweeney and designed by Matter), appear crucial to the success of Peggy Guggenheim’s painting. One of these exhibitions focused on Calder and another presented and defined concepts of Action Photography. Hans Namuth’s famous photos of Pollock at work demonstrate his conversion by 1950 of what Sweeney had termed Calder’s “primitive strength of rhythmic evocation,” and utilization of the “unpredictable nature of natural movements and the esthetic possibilities of the unexpected” into an unprecedented externalization of psychological and bodily experience generative of art’s subsequent focus on performativity.
Publisher
University of Chicago Press
