Document of Phallic Interaction. Fall 2013.
"Simplicity is complexity resolved."
"It took me 40 years to find out that painting is not sculpture."
"At some point we’ve got to stop asking ourselves what is the meaning of everything, maybe it’s not so very important what it means. It’s probably more important what the sense of it is…they are two very basic and different things."
Bestselling companion CD to the blockbuster Jackson Pollock Retrospective at New York’s Museum of Modern Art! A one-of-a-kind compilation, released to rave reviews, this popular title features 17 hot jazz tunes hand-picked from Jackson Pollock’s own record collection by the museum’s curators. A welcome addition to any jazz library, this perennial bestseller offers a dynamic example of the interplay between music and art.
**WTF!??!?!….YEAH, I’M PRETTY SURE A CURATOR OR TWO @ MOMA WOULD HAVE GOTTEN PUNCHED IN THE FACE IF POLLOCK WAS STILL ALIVE WHEN THEY PULLED THIS SHIT!!!….WORST MERCHANDISE EVER!!!!…..
I agree that Jackson Pollock would punch, or at least drunkenly scream at, the MoMA curators for pairing his collection of Jazz with an exhibition of his work. I believe he would be enraged that they would do this without his consent, because in the end he was a drunk and an egotistical asshole.
I do, however, disagree that this is “the worst merchandise ever!!!”.
Jazz is music that is created without pre-planned intent. Jazz is music for music’s own sake. Jazz is meant to be something other, freeform, an outpouring of the sub-contious.
Pollock painted for the sake of Painting; he strived to rid his art of symbolism, or meaning, of any kind. If he or someone else saw any image in his drip paintings, he would immediately go about covering it up with more paint.
Jazz and the Action Paintings of Jackson Pollock are both examples of purely aesthetic experimentation, or as a wise friend once coined: “aesthetic masturbation”.
It makes sense that Pollock listened to and collected Jazz albums and that it makes sense that a curator would make the connection between his musical interests and his artistic intent.
The general public, as is the curse of the museum or of art, is likely to miss this connection entirely or misinterpret Pollocks work as a reflection of the music itself rather than the parallel it is.