Self-Betrayal or Self-Deception? The Case of Jackson Pollock
Bibliographic Data
| ID | 21974192 |
|---|---|
| Authors | Elizabeth L Langhorne (Central Connecticut State University, corresponding author) |
| Year | 2023 |
| Volume | 12 |
| Issue | 2 |
| Pages | 54 |
| Publication date | 2023-03-13 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Arts (JOURNAL) |
| Journal identifiers | ISSN: 2076-0752 • E-ISSN: 2076-0752 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/arts12020054 |
| OpenAlex | W4324357329 |
| Language | EN |
| Citations received | 2 |
| References cited | 7 |
Clement Greenberg interpreted the rise of authentic modern art as a rejection of kitsch and “half-baked” religiosity and celebrated Jackson Pollock as representing what he called for. However, his presentation of Pollock as a leading modernist fails to do justice to his lifelong spiritual quest and to his desire to reach a broad public, which led him to open his art and person to the popular media of photography and film. Following Greenberg, Donald Kuspit would have us understand Pollock’s embrace of and by the public as a self-betrayal, transforming his great abstractions into decorative kitsch. Kuspit’s understanding of Pollock’s “true self”, however, cannot convince. His embrace of the public did lead Pollock to doubt his artistic enterprise: his dream of art as alchemy. But, the great abstractions testify to the power of that dream to create great art, challenging us to reconsider the relationship between authentic art and mass culture, of modernism, spirituality, and the public
Aesthetics · Alchemy · Art · Art history · Betrayal · Dream · Kitsch · Political science · Pollock · Law · Psychology · Visual Culture and Art Theory
| Unique citing works | 2 |
|---|---|
| Citations per year | 2 |
| Citation span | 2025 - 2026 (2) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 2 |