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In this debut series of myths for modern times, haunting meditations are given on art, movies, literature, and life.
A clever, charmingly quirky portrayal of painter Jackson Pollock – and the first in a series of picture-book biographies of contemporary artists Jackson Pollock was unlike any other painter. Instead of sitting in front of an easel with brushes, he poured paint over canvases rolled-out across the floor, moving, splashing, and making the vivid liquid run with energy and rhythm. Pollock’s story is told here with wit and eccentricity, perfectly paired with black-line illustrations – and splatters galore. Fausto Gilberti brings movement, life, and whimsy to the true life story of one of the most important contemporary artists of our time.
A bewitching collection of short fiction-haunting and hypnotic meditations on art, movies, literature, and life A circus elephant named Topsy was executed at Coney Island in the year 1900 for killing a man. That's true. So is the life of Saartjie (Sar-key) Baartman, the Hottentot Venus, who was herself a circus act in the first half of the nineteenth century. What is myth is the Indian god Ganesha, whose head was lopped off by his father, Shiva, and replaced-with an elephant's head-by his disconsolate mother, Parvati. In John Haskell's expert hands, these three curious strands are ingeniously woven together in one story called "Elephant Feelings." And so it goes with the rest of these dreamy meditations on the lives of artists, actors, writers, and musicians who are at once painfully human and larger than life. In "Dream of a Clean Slate," Jackson Pollock the man struggles with the separation he feels from Jackson Pollock the artist; in "The Judgment of Psycho," Haskell probes the sexual dynamic of Janet Leigh and Anthony Perkins in Psycho, and then delves into a different relationship, the one between Hector and Paris in the Iliad; Orson Welles presides over the long story "Crimes at Midnight," a tense evocation of desire and its consequences. Haskell has written a series of myths for modern times, stories about the ways in which we are distant from ourselves and about the way art can sometimes help us imagine other worlds and other possibilities. It is an astonishing debut.
Deborah Solomon's biography sets Jackson Pollock in his time and portrays him as a shy, often withdrawn person, full of insecurities and self-doubts, and frequently unable to express himself about his art or its meaning. Solomon interviewed two hundred people who knew Pollock and his work and she has drawn extensively on Pollock's own writings and other personal papers. She examines the artist's relationships with his family; his wife and fellow artist Lee Krasner; art patron Peggy Guggenheim; the painters Willem de Kooning, Mark Rothko, and many more.
Survey of important works in the collection of the Museum of Modern Art.
Presents letters written by the American painter and his brothers and parents from the late 1920s to the late 1940s.
The drip paintings of Jackson Pollock, trailblazing Abstract Expressionist, appear to be the polar opposite of Thomas Hart Benton's highly figurative Americana. Yet the two men had a close and highly charged relationship dating from Pollock's days as a student under Benton. Pollock's first and only formal training came from Benton, and the older man soon became a surrogate father to Pollock. In true Oedipal fashion, Pollock even fell in love with Benton's wife. Pollock later broke away from his mentor artistically, rocketing to superstardom with his stunning drip compositions. But he never lost touch with Benton or his ideas-in fact, his breakthrough abstractions reveal a strong debt to Benton's teachings. I n an epic story that ranges from the cafés and salons of Gertrude Stein's Paris to the highways of the American West, Henry Adams, acclaimed author of Eakins Revealed, unfolds a poignant personal drama that provides new insights into two of the greatest artists of the twentieth century.
Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.
With the consolidation of the European Union and the opening of the Channel Tunnel, how can Britain develop a central place in Europe and ensure its future prosperity? Britain on the Edge of Europedescribes Britain's post-war involvement with the continent amd assesses the country's chances of enjoying the benefits of the projected European boom. Analysing the economic and political effects of Britain's edge-location, the author challenges orthodox notions of distance, cost and competitiveness and assumptions about the likely regional impact on Britain. At a time when British expectations of Europe are very much in the balance, Britain on the Edge of Europeputs the country's trade position into perspective.
A dark-hued, hybrid novel by a writer who “delivers our culture back to us, made entirely new” (A. M. Homes) In The Complete Ballet, John Haskell choreographs an intricate and irresistible pas de deux in which fiction and criticism come together to create a new kind of story. Fueled by the dramatic retelling of five romantic ballets, and interwoven with a contemporary story about a man whose daunting gambling debt pushes him to the edge of his own abyss, it is both a pulpy entertainment and a meditation on the physicality—and psychology—of dance. The unnamed narrator finds himself inexorably drawn back to the pre–cell phone world of Technicolor Los Angeles, to a time when the tragedies of his life were about to collide. Working as a part-time masseur in Hollywood, he attends an underground poker game with his friend Cosmo, a strip-club entrepreneur. What happens there hurtles the narrator down the road and into the room where the novel’s violent and surreal showdown leaves him a different person. As the narrator revisits his past, he simultaneously inhabits and reconstructs the mythic stories of ballet, assessing along the way the lives and obsessions of Nijinsky and Balanchine, Pavlova and Fonteyn, Joseph Cornell and the story’s presiding spirit, the film director John Cassavetes. This compulsively readable fiction is ultimately a profound and haunting consideration of the nature of art and identity.