SAMPLE ASSESSMENT FORM: Level 1 Programme (WRITTEN ASSIGNMENT)

Arts Management

To be completed by Examiner. Student Name: TUNG ZHIWEN JOHN Student ID Number: 11511 Title of Assessed Work: Pollocks No.5, 1948 Learning Outcomes: o o o

Programme: Arts Management Module/ Component: AM 1101 (History of Visual Arts)

an understanding of the historical and contemporary context of the arts and its definitions; with knowledge of music, theatre, dance and visual arts history across different periods and regions. a working vocabulary of artistic and management terminology. the ability to find, select and use information on visual materials in their historical contexts. the knowledge and understanding of self-awareness, openness and sensitivity to diversity in terms of people and cultures. Submission Date: Total Marks (100%)

Deadline: 29 October 2009 Weightage: Examiners Name: Jeffrey Say Criteria (based on assignment brief) Content and strucrure: Research evidence, use of written and visual sources, relevance, structure and flow of information, introduction/conclusion Style and language Clarity, grammar, language and spelling Referencing Footnoting, bibliography Presentation Quality of visuals, layout, formatting Attendance & Participation Bonus for regular attendance + active class participation (Up to a maximum of 5 marks) To be considered at the end of the semester/year TOTAL Please underline where appropriate: %

Mark /100

Mark (%)

Remarks

50

30

10 10

Irregular Attendance below 70%/ Late Submissions/ Resubmission (If any of the above has been underlined, the maximum mark for the assignment will be capped at 40 marks) All marks are provisional and subject to confirmation by the examination board Signature: Date: Verified by Programme Coordinator/Manager (Name/ Signature)

TUNG ZHIWEN, JOHN AM3A 11511 29TH October 2009 VISUAL ARTS RESEARCH PAPER Pollocks No.5, 1948 More Than a Dense Birds Nest In 1948, Alfonso Ossorio, a wealthy Filipino, abstract expressionist artist and friend of Jackson Pollock would purchase No. 5, 1948 (refer to index of images) with no knowledge whatsoever that the painting would become, in present times, the most expensive painting ever sold. In spite of this, many still view No. 5, 1948 to be akin to a dense birds nest. Jackson Pollock began his study of painting under the mentoring of the Regionalist painter Thomas Hart Benton in 1929 and hence working with the Regionalist style during the period of the 1930s with influence from Mexican muralist painters namely Orozco, Rivera and Siqueiros. Although also being influenced by the surrealist styles, it was not until the mid 1940s that he started working in a completely abstract manner. The drip and splash style of painting would only emerge with much abruptness in 1947 when Pollock wanted to see if his pouring method could carry a painting on its own.1 His experimentation with this entire avantgarde style of painting would lead to the creation of Full Fathom Five (refer to index of images) in the same year. A first in what
1

Jackson Pollock: Key Interviews, Articles and Reviews. New York: The Museum Of Modern Art, 1999.

would be a series of paintings bearing his signature pour technique. His unique style of painting would later on lead to his moniker Jack the Dripper.2 Pollock can be considered one of the most influential and controversial artists of the 20th century with his paintings as iconic as his fits of rage and alcoholism. His struggles with alcoholism and troubled marriage to Lee Krasner would lead to psychoanalysis by Jungian psychiatrists. Being familiar with the writings of Jung as well, Pollock is believed to have incorporated Carl Jungs philosophy into his paintings. Famed for saying the problem isnt painting; its what to do when you arent painting,3 Pollock died as a result of an alcohol related driving accident on the 11th of August 1956. The painting in question, No. 5 , 1948, was a composition of oil, enamel and aluminum paints on a fiber board. The size of the image can be considered immense in size though he had paintings of even larger scales. The painting bears base layers of black and grays followed by fine lines of white drizzled over the fiberboard. The lines of brown applied and finally fine trails of yellow that stand out strongly from the background of earthy colours. The application of layer upon layer of paint creates a sense of depth and volume in the painting. Furthermore, by covering the fiber board to ensure no identifiable parts or points of emphasis, Pollocks name became

"2." Monday, Feb. 20, 1956.http://www.time.com/time/magazine/article/0,9171,808194-2,00.html (accessed 29/10/09). 3 http://www.jackson-pollock.com/biography2.html (accessed 29/10/09).

synonymous with the introduction of the All-over style of painting.4 This broke Pollock away from traditional ideas on composition and relation between parts in a painting. Like his other post-1947 works, Pollock used a combination of his pour technique in combination with his style of action painting so as to create No. 5 , 1948. To do so, Pollock would first lay out the fiber board on the floor of his studio before he begun to drip and splash paint upon it. To Pollock, this method of painting was a natural growth out of need arising from his desire to express his feelings rather than to illustrate them.5 Pollock felt that changing times required the emergence of new techniques to encapsulate accurately the spirit of the contemporary times. Furthermore, by laying the board on the ground, his motion was less restricted, allowing him to work from all sides and hence, incorporate himself better into the painting. While this style of painting was remarkably received by the press6 due to the challenge it posed towards traditional perceptions of painting, not all were pleased with Pollocks style. Bruno Alfieri made the following statement about Pollocks works in general: chaos/absolute lack of harmony/complete lack of structural organization/total absence of technique, however rudimentary/once again, chaos.7
4 5

Wyo, Cody. http://www.jacksonpollock.com/bio.shtml (accessed 29/10/09). Narration spoken by Jackson Pollock. Namuth, Hans. Pollock Painting. 1951. 6 Alfieri,Bruno. Jackson Pollock: The Irascibles and the New York School . Skira , 2002 7 Naifeh,Steven. Jackson Pollock: An American Saga. 3 ed. Woodward/White,

Yet despite Alfieris condemnation of Pollocks work deeming it chaos, studies by physicians Taylor, Micolich and Jonas from the University of New South Wales Australia have determined that the chaos as perceived by Alfieri was created with mathematical precision. While the study of chaos theory in mathematics emerged only more than ten years after the death of Pollock, exploration into the nature of Pollocks work has determined that some of the works displayed properties of mathematical fractals in short, breaking down natures very own blueprint and using it as a basis to create his own art Fig 1.

Fig 1. (Left) Section of snow on ground (Centre) Section of forest (Right) Section of Pollocks One: Number 31, 1950 As seen in figure one, the similarities are astounding. The same is also true for the prized No. 5, 1948. Studies have shown that Pollocks work progressively becomes more fractal-like along with Pollocks career. To assume Pollocks awareness of chaotic motion

Incorporated, 1998.

may not be far fetched at all.

8 9

To Pollock, the process of painting was as crucial in its artistry as was the end product. His style of action painting was crucial in depicting the subconscious and bring the conscious mind to awareness of how it is shaped a goal of Jungian analysis. Pollock was also believed to have incorporated various visual symbols indentified by Jung which are thought to connect individuals in accordance to Jungs principle of the collective unconscious. Since Jung believed that the primitive man was more connected to this collective unconscious as compared to the civilized man, the style of action painting in which Pollock moves around the canvas is reminiscent of Native American sand painting traditions where sand is trickled in thin lines to make a design on a horizontal surface. Hence from here it can be established that while Pollocks work may have no meaning as a stand-alone, his manipulation of Jungs symbols to be incorporated into his art may have been a mode in which Pollock was attempting to understand himself in a Jungian way.10 This is further substantiated by the fact that Pollack himself did not label any of his techniques and styles himself. In fact, the term
8

Taylor, Richard. "Fractal Expressionism Can Science Be Used To Further Our Understanding Of Art? Physics World (1999), http://www.phys.unsw.edu.au/phys_about/PHYSICS!/FRACTAL_EXPRESSIONIS M/fractal_taylor.html. (accessed October 28, 2009). 9 Sept. 14, 2008.http://www.gogeometry.com/wonder_world/golden_rectangle_jackson_pollock _5_1948.html (accessed 29/10/09). 10 Mathews, Hans V.. "Pollock In PerspectiveFrontline 16. 14 (1999), http://www.hinduonnet.com/fline/fl1614/16140700.htm. (accessed October 28, 2009).

action painting was coined by American art critic Harold Rosenberg in 1952.11 Pollack himself had said, It doesnt make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.12 When Ossorio first received the painting he noticed that a 6-by9-inch portion of the painting had slid leaving what was described by Ossorio as a non-descript smear amidst the surrounding linear clarity. The work was returned to Pollack for repair and when Ossorio saw it once more three weeks later, he found new qualities of richness and depth a result of thorough but subtle overpainting. Pollacks careful reconstruction of the painting had not only left the original concept entirely intact but re-affirmed it with greater complexity and linear interplay. Furthermore, in complete contradiction to the sentiments of Alfieri, Ossorio dubbed the work a masterful display of control and disciplined vision.13 Yet, Ossorios statement pertaining to the touchup being a wonderful example of an artist having a second chance14 may be considered inaccurate according to Harold Rosenbergs definition of the genre. Ossorio failed to realize that his purchase was merely the by-product of Pollacks art which is the very action of painting No. 5, 1948 itself rather than the completed artwork. In light of this, Pollacks touch up of the piece may be viewed as solely to please
11 12

Rosenberg,Harold. The Tradition of the New. New York: Horizon Press, 1959 "The Technique of Action Painting in Jackson Pollock Paintings." http://www.jackson-pollock.com/action-painting.html (accessed 28/10/09). 13 Mancusi-Ungaro, Carol C.. Jackson Pollock: Response As Dialogue. 14 Potter, Jeffrey. To A Violent Grave: An Oral Biography of Jackson Pollock. New York: G.P. Puntnam's Sons, 1985.

the buyer. Rosenberg would spend the next two decades redefining the art as an act as opposed to an object.
15

Since the sale of No. 5, 1948 to Ossorio in 1948, the painting has passed through many a different collector/museum including Samuel Irving Newhouse Jr., an esteemed publishing morgul, the Museum of Modern Art, amongst others. The most recent transaction of the painting is believed to be between David Geffen, founder of Geffen Records and David Martinez, a Mexican financier. While the deal was believed to be brokered by Sothebys auctioneer Tobias Meyer for $140 million dollars to Martinez, Martinez claims no ownership of the painting presently. Yet while the present owner of the painting remains a mystery, should this deal be factual, Pollacks No. 5, 1948 would be at present the worlds most expensive painting overtaking Gustav Klimts Adele Bloch-Bauer I which was sold at a price of $135 million.16 It is thus evident that the understanding and appreciation of Jackson Pollocks work has increased greatly over time and even though the works of the abstract expressionist painter may still hold mysteries to be solved, continued study into his artworks would shed greater light on the human condition.

15

"2." Monday, Feb. 20, 1956.http://www.time.com/time/magazine/article/0,9171,808194-2,00.html (accessed 29/10/09). 16 Vogel, Carol. "A Pollock Is Sold, Possibly for a Record Price." New York Times. Available from http://www.nytimes.com/2006/11/02/arts/design/02drip.html? _r=1&adxnnl=1&ref=arts&adxnnlx=1163031599-revbGMuaIhdTP4qLonq8BA. Internet; accessed 28 October 2009.

Works Cited Jackson Pollock: Key Interviews, Articles and Reviews. New York: The Museum Of Modern Art, 1999. "2." Monday, Feb. 20, 1956.http://www.time.com/time/magazine/article/0,9171,808194-2,00.html (accessed 29/10/09). http://www.jackson-pollock.com/biography2.html (accessed 29/10/09). Wyo, Cody. http://www.jacksonpollock.com/bio.shtml (accessed 29/10/09). Narration spoken by Jackson Pollock. Namuth, Hans. Pollock Painting. 1951. Alfieri,Bruno. Jackson Pollock: The Irascibles and the New York School . Skira , 2002 Naifeh,Steven. Jackson Pollock: An American Saga. 3 ed. Woodward/White, Incorporated, 1998. Taylor, Richard. "Fractal Expressionism Can Science Be Used To Further Our

Understanding Of Art? Physics World (1999), http://www.phys.unsw.edu.au/phys_about/PHYSICS!/FRACTAL_EXPRESSIONIS M/fractal_taylor.html. (accessed October 28, 2009). Sept. 14, 2008.http://www.gogeometry.com/wonder_world/golden_rectangle_jackson_pollock _5_1948.html (accessed 29/10/09). Mathews, Hans V.. "Pollock In PerspectiveFrontline 16. 14 (1999), http://www.hinduonnet.com/fline/fl1614/16140700.htm. (accessed October 28, 2009). Rosenberg,Harold. The Tradition of the New. New York: Horizon Press, 1959. "The Technique of Action Painting in Jackson Pollock Paintings." http://www.jackson-pollock.com/action-painting.html (accessed 28/10/09). Mancusi-Ungaro, Carol C.. Jackson Pollock: Response As Dialogue. Potter, Jeffrey. To A Violent Grave: An Oral Biography of Jackson Pollock. New York: G.P. Puntnam's Sons, 1985. "2." Monday, Feb. 20, 1956.http://www.time.com/time/magazine/article/0,9171,808194-2,00.html (accessed 29/10/09).

Vogel, Carol. "A Pollock Is Sold, Possibly for a Record Price." New York Times. Available from http://www.nytimes.com/2006/11/02/arts/design/02drip.html? _r=1&adxnnl=1&ref=arts&adxnnlx=1163031599-revbGMuaIhdTP4qLonq8BA. Internet; accessed 28 October 2009.

Index of Images 1.

No. 5, 1948 Jackson Pollock (1948) Oil, Enamel and Aluminum Paint on Fiber board

2.

Full Fathom Five Jackson Pollock (1947) First painting to utilize pour technique. Oil on canvas with nails, tacks, buttons, coins, cigarettes, etc