The Subversion of Gravity in Jackson Pollock's Abstractions
2008; College Art Association; Volume: 90; Issue: 4 Linguagem: Inglês
10.1080/00043079.2008.10786416
ISSN1559-6478
AutoresClaude Cernuschi, Andrzej Herczyński,
Tópico(s)Aesthetic Perception and Analysis
ResumoAbstractIt is generally acknowledged that Pollock's mode of painting was contingent on an idiosyncratic employment of gravity: pouring paint, after all, is a gravitational phenomenon par excellence. This defining aspect of Pollock's technique—his enlisting of fluid dynamics in the artistic process—invites scrutiny from the perspective of both art and science. In close collaboration, an art historian and a physicist investigate, for the first time, the mechanics of Pollock's handling of liquid paint under gravity, permitting an exploration of the formal advances thereby enabled and their broader implications for the meaning and ethos of his work. Additional informationNotes on contributorsClaude CernuschiClaude Cernuschi teaches art history at Boston College. He has authored Jackson Pollock: Meaning and Significance; Jackson Pollock: “Psychoanalytic” Drawings; “Not an Illustration but the Equivalent”: A Cognitive Approach to Abstract Expressionism; and Re/Casting Kokoschka: Ethics and Aesthetics, Epistemology and Politics [431 Devlin, Boston College, Chestnut Hill, Mass. 02467, cernusch@bc.edu].Andrzej HerczynskiAndrzej Herczynski teaches physics at Boston College. He has published articles in Physics of Fluids, Physical Review B, Applied Physics Letters, Quarterly Journal of Mechanics and Applied Mathematics, among others. He wrote Introductory Physics Laboratory Manual and contributed to the Macmillan Encyclopedia of Physics [230D Higgins, Boston College, Chestnut Hill, Mass. 02467, andrzej@bc.edu].
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