Jackson Pollock is often referred to as a “tortured genius,” who lived a tortured life and met a tragic death.

As to his work, some say it is inarticulate and meaningless. This raises three of the central issues in art: how the artist worked, what the artist was “trying” to say, and what the work means to the viewer. One question is whether anyone can describe the way Jackson Pollock worked and what he was trying to say more accurately than the artist himself?

Next, combine the video with this critical comment:

“That any two people dripping or pouring a line will get somewhat similar results says nothing more than is true of a pencil, brush or knife line. The Extroadanry range and variety of effects Pollock achieved depended upon a number of choices which not only had to be made, but had to be linked in tandum: viscosity of the paint, the speed and gestural manner of pouring (flicking, flinging, dripping, flooding, spattering, etc, the intermediary instruments used (e.g. , stick brush, trowel, basting syringe).”

Source: William Ribin. Jackson Pollock and the Modern Tradition. Artforum, February-May 1967. Revised 1999. Reprinted in Jackson Pollock, Interviews, Articles, and Reviews, The Museum of Modern Art, 1998.

Now, add this quote from someone who knew him quite well, “For … me Pollock represented both the ability to have endured material poverty and to have and expressed spiritual freedom.”

Source:B.H Friedman. Jackson Pollock. McGraw-Hill 1972, Introduction, p. xix.

Now, look at one of Pollock’s paintings, Number 8, not as one might do in a museum with limited time and unlimited destractions, but with intensity and concentration, and for as long as you would like.

Jackson Pollock Number 8

Then, combine these with this statement from the well-known biography, “Jackson Pollock, An American Saga,” about the end of Jackson Pollock’s life in a horrific car crash,

“For an instant, everything was silent – except the air russhing by. Escape velocity: he had finally reached it. The car was gone, Ruth was gone, Edith was gone, Lee was gone, Stella was gone. He was free: not falling, flying; flung from the tumbling car in a straight trajectory fifty feet long and ten feet off the ground. He covered it in less than a second, but, according to the coroner’s report, was fully conscious, arrested in space, until he hit the tree.”

Source: Steven Naifeth and Gregory White Smith, Jackson Pollock, Clarkson, 1989, p. 793, The book is base on more than 2,000 interviews with 850 people, illustrated with more than 200 photography from Pollock’s life and work, and was the basis of the movie, Pollock staring Ed Harris.

Now, view more of Pollock’s work here.

Then, view works by other artists who were contemporaries of Pollock and also painting in the same genere, so that you may compare and distinguish. Artists such as,

Alfonso Orssio

Jean Dubeffet

Willem de Kooning

Clifford Still

Mark Rothko

Now watch someone who is knowledgeable and skillful painting in Jackson Pollock’s style.

Now try, yourself, to paint like Jackson Pollock. In introducing the IPad, Steve Jobs said that “JacksonPollock.org” is one of the best websites to experience the iPad and “Jackson Pollock by Miltos Manetas” is definitelly the best application for the iPad.


Now, separately click on each of the two paintings. Lavender Mist and Out of the Web, Loon at them individually for at least 30 -45 seconds each, not as one might do in a museum with limited time and unlimited destractions, but with intensity and concentration, so you lose yourself in them. Then see what they mean to you.

Lavender Mist

Jackson Pollock, Out of the Web

Imagine all of the above combined. This meets all of the ctiteria for fine art in the new media outlined in the Purpose page.

1. The first advantage of Fine Art in the new media is that it should be iaccessible.

2. Fine Art in the new media should be interactive.

3. Fine Art in the new media should be viewer directed. “I want to see what I want to see.”

4. Fine Art in the new media should be able to be manipulated, which enables the viewer to use their creativity. to examine, adapt, and experiment with the art.

5. Fine Art in the new media should be comparative , enabling the viewer to array pictures from different artists side by side to study technique, execution, and genre.

6. Lastly, Fine Art in the new media should be able to be viewed as a continuum of man’s effort at visual expression.

This is Fine Art in the new media. This is the NewMediaBook.

Copyright Icron Image International, Inc. 2012



  1. Great article. I’m a fan of Pollock and really like how you have gleaned the new media link between his work and the way we can access it and others today. I visited Jacksonpollock.org years ago and showed it to my friends. It was great to see how we each used it differently on our computers (using our track pads on our laptops as this was before the ipad #showingmyage at 27 =).

  2. I was introduced to Pollock’s work when my brother took me to the Yale Art Gallery in New Haven CT at the age of twelve. I went home and started pouring paint on large pieces of cardboard to see what I could create. This became a presentation to my 7th grade class! Since that first exposure, 46 years ago I’ve craved art in my life. This blog gives me the fix I need when I can’t get to a gallery.

  3. Stunning article! Pollock has always interested me. It was great to read about him in more detail. Hope to see you in New York City soon.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s

%d bloggers like this: