Jackson Pollock at work in his studio, 1950. Photo: Hans Namuth
In the May 1951 issue of ARTnews a selection of photographs by Hans Namuth appeared as illustrations for Robert Goodnough’s article, “Pollock Paints a Picture.” The images depict a focused Pollock energetically applying paint to a large canvas spread across his studio floor. Read more
Conservation scientist Chris McGlinchey conducts elemental analysis using a handheld X-ray Fluorescence (XRF) analyzer
Empirical examination and scientific analysis are fundamental to conservation research and treatment; conservators frequently collaborate with scientists in order to clarify specific questions: to identify materials, elucidate degradation mechanisms, or test the efficacy of conservation methods. Read more
MoMA Assistant Conservator Jennifer Hickey inspects the paint surface of One: Number 31, 1950 under magnification
In our last post, we took a closer look at the variety of visual effects Pollock was able to achieve with his painting technique. We also observed some passages of paint that don’t appear to fit the typical characteristics of poured house paint. So we set out to investigate this seeming inconsistency. Read more
One: Number 31, 1950 before treatment
It’s a good time to be studying and working on Jackson Pollock’s paintings. With projects also underway at the Seattle Art Museum and The J. Paul Getty Museum Read more
Installation view of Jackson Pollock’s One: Number 31, 1950, at The Museum of Modern Art, New York. 1950. Oil and enamel paint on canvas. Sidney and Harriet Janis Collection Fund (by exchange). © 2012 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York
Recent visitors to The Museum of Modern Art may have found themselves wandering through the Painting and Sculpture Galleries unable to shake the sense that something is awry. Read more
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