New York

Jackson Pollock

Jason McCoy Gallery

Though hardly earth-shattering, this exhibition of newly discovered, authentic works by Jackson Pollock—which included drawings, paintings, and a sculpture—was of more than academic interest. That is, were it not for Pollock’s allover paintings of 1946 and 1947–50 and the early ’40s works that preceded them with which we are already familiar, the works shown here would lead us to label him a naive abstractionist full of labored Sturm und Drang signifying very little indeed. The path from the early Family Scene, ca. 1934–36, à la Thomas Hart Benton to Number 24, 1950, is certainly a twisted one, forged from Pollock’s desire to “be abstract.” Throughout the period bracketed by these two pieces, we see Pollock busily assimilating automatism, ostensibly in search of his unconscious, but succeeding only in establishing a clichéd, false equation of his art with himself. In the search for his

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