Exploring Jackson Pollock's 'Number 50': A Journey into Drip Painting and Abstract Expressionism

Let's talk about Jackson Pollock's 'Number 50'. Dive into the world of action painting, a subset of Abstract Expressionism, developed mid-century by Pollock, where he set out to explore a blend of chance and precision in abstract art.

🎨🖌️ Dive into the dynamic world of Jackson Pollock’s ‘Number 50’, a 1950 masterpiece of drip painting. This piece is not just paint on canvas; it’s an iconic example of action art and abstract expressionism. 💫🌌

Pollock’s method? Using house paint and a stick to let each drip and swirl take its own course, creating a symphony of controlled chaos. But how much control did Pollock really have? 🤔🎨 Each splatter and line raises questions about artistic intent versus randomness.

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Reflect on the nature of art itself: the choice of colors, the angle of the drip, and the artist’s movement around the canvas. It’s a dance of chance and precision. 🕺💃

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Ever written about art and received unexpected feedback? Share your experiences and thoughts on this captivating form of expression. Let’s delve into the depths of drip painting together! 🤓✍️

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Gego — Gertrud Goldschmidt — Retrospective at the Guggenheim Museum in New York to Open on March 31, 2023

In this post, I write about going to the opening night of the Gego: Measuring Infinity exhibition at the Guggenheim Museum in New York City.

On Thursday night, I saw a new retrospective exhibition at the Guggenheim, the iconic Frank Lloyd Wright-designed museum building on Manhattan's Upper East Side. Two artists' had openings — Sarah Sze and the German-Venezuelan artist, Gego (Gertrud Goldschmidt).

Do you see it? I was drawn in by the small square

dangling in the left corner of one of Gego's

trippy geometrical pieces — on view at 

the Guggenheim Museum.

       Another example of Gego's geodistic fever dream —
       can you imagine being shrunk and navigating
       you way through this three-dimensional maze?

Gego's work spans decades and includes small-scale paintings from the '50s to trippy geometric mobiles from the '70s. I particularly liked her drawings without paper — such as a wire mashup that appears to be graph paper 📝 and a series of interconnected wires that, when you step back, look like spherical shapes strung together. Thanks to @rguimaraes100 for letting me know about his wife’s associate curatorial work — brava to Geaninne Gutiérrez-Guimarães. You curators do amazingly awesome work: e.g., putting together such an impressive exhibit that spans the Guggenheim's spiral.

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#exhibit #guggenheim #art #show #gegomeasuringinfinity #guggenheim #curator

First image: Sphere; Second Image: Sphere; Third Image: From left, “Sin Título” (“Untitled”), 1977, bronze; “Siete Icosidodecaedros” (“Seven Icosidodecahedra”), 1977, steel and copper; “Sin Título,” 1977, bronze; and “Reticulárea Individual Nº 2” (“Individual Reticulárea No. 2”), 1969, steel, aluminum and iron. Credit...Karsten Moran for The New York Times

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Painting: "Second Theme" by Burgoyne Diller

Burgoyne Diller, "Second Theme"

image: Valerie Carbery Gallery / Burgoyne Diller

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Poem: Another Kind Of Cave?

when it seems you have been cut out from
construction paper,
block speckled primary color green,
a carved-out human form,
when it seems as if identity has been placed on the shelving,
— fleshed-out and unread —
what, instead,
walks around in its place is the abstract me
with abstract legs and triangular feet,
a circle standing in for a noggin,
made by a bunch of kindergarten scholars,
a veritable platonic form,
that forgot about its meat on the shelf,
cautiously rotting
So I go and pick up my half-smelly carcass,
filed between a copy of
jane eyre and buddingbrooks,
and slap my self around a bit like a butcher with
a premium slice,
salve a healthy dose of vinegar to spicen up
my languishing corpuscles,
jimmy into my corpse once again as if it were a
union suit
nostalgically lined to my handsome rectangle;

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