Abstract Expressionism

Being represented as one of the most difficult art theme, Abstract Expressionism have been brought to controversial discussions since it emerged. Contrast to a minor coverage of audiences who found themselves strongly connected to Jackson Pollock’s or Mark Rothko’s paintings, the popular response is criticism. Many cannot relate the artworks to any event or story in life that they are confused about the paintings’ messages. This study will accordingly discuss about crucial principles, concepts and ideas of Abstract Expressionism by analysing Jackson Pollock’s ‘Blue Poles’ (1952) and Mark Rothko’s ‘No 37’ (Red) (1954). Besides, some challenges confronted and some approaches to understand the paintings are also to be presented.

What is Abstract Expressionism? Actually, a clear definition is difficultly achieved, because it has no rules. Klin notes, ‘Anyone searching for a precise, codified definition of abstract expressionism is, sadly, bound to come up short.’[1] When searching ways to recognize Abstract Expressionism artworks, there is a common explanation that the artworks have no representations of objects like person, place, or events. They just focus on the medium and have no attempt to capture the real physical world. So, how is it different from other abstract paintings where we either see any real world’s objects’ representation? To pick one example of other abstractionisms for comparison, that is minimalism, Gablik states that people still imagine from minimalism a least representation of objects’ components or their crucial characteristic.[2] Gablik also notes that even in most simplified cases that no object’s identification is introduced, there is still some underlying message behind minimalism, by a mean of symbolization or metaphor[3] , when in Abstract Expressionism, everything making up an object, either real or unreal, is excluded completely. There is no underlying symbolic meanings but just the visual elements standing there, directly expose themselves in front of audiences’ eyes.

‘Abstract Expressionism is a celebration of the medium’, D. C. Fox states.[4] Pollock’s and Rothko’s paintings do not use lines, shapes, colors and other medium to represent topics. The medium speak for themselves, the topics of the paintings are directly what we see on it. Because the medium are that so crucial to Abstract Expressionisms, it is reasonable to see a huge diversity and uniqueness of art materials in the working process. For example, Pollock created engaging visual elements by dripping paint on the huge canvas and Rothko composed artworks from color blocks spread on colored background. Artists use innovative and independent materials coordinating rhythmically with their current random emotions. It is revealed that Abstract Expressionism paintings have no previous intended message from the start, the artists generates the message themselves in the same time they execute the artwork. Galenson states, ‘Their emphasis on the importance of the working process to their art prompted one of their most influential supporters’.[5] So, abstract expression may be the closet way to express the artists’ truest feeling because the mood is no more be bounded by any common events, objects or any other anticipated ideas, as Galenson notes, ‘They begin as an unknown adventure in an unknown space.’.[6] Therefore, in comparison to others, this art frame generates a strong sense of spontaneity and personalization.

It is seen in Pollock’s and Rothko’s paintings that they seem to search for a visual reality beyond the world’s tangible perceptions and fully focus on their inner feelings. This may result from their timeframe and context. Landau states that Abstract Expressionism emerged intensely in America after the World War II, with the name of unforgettable artists like Jackson Pollock, Willem De Kooning, Mark Rothko, Clyford Still, etc.[7] This special event might consequently carry sadness, as Klin states that many expressionists had gotten their start from depression during the time.[8] They might accordingly think of getting beyond realistic world to freely connect to inner darkness. Kootz shows that the abstractionists’ artworks come from ‘an internal world rather than an external one’. [9] In fact, according to Golding, the history saw many artists of Abstract Expression like Jackson Pollock and Mark Rothko firstly touched by their experience of Surrealism before coming to expressionism.[10] The reason may be that the dreams bring about completely different experience, the unreal world leads to a feeling that nothing in real life can touch. The expressionists might sink into emotions and want to expose them to an absolute point. Critically reflecting to this, one question occurs: Is there an absolute point can be achieved through Abstractionism? Actually, one painting’s starting point has to be commenced from one concept about an object or event so that the objects’ representations can consequently be excluded. Hajali states, ‘Pollock’s works are not accidentally and they are results of several years of works. Painter has been practiced to remove the topic from his works.’[11] Regardless of attempt to extract visual elements from objects, medium still bring imagination or relation to the objects. So, it can be stated that no abstract painting is absolute Abstractionism. May this be the reason why Rothko refuse himself to be an abstractionist?[12] Therefore, the closet abstract paintings might be Robert Rauschenberg’s ‘White Painting’ (1951)[13], but that means when we reach abstraction’s definite point, it is death. In the journey to reach that definite point, by as many techniques as they can, there were masterpieces created. Among them, Abstract Expressionism paintings may be one of the closet representations. There are two well-known categories of Abstract Expressionism: Color Field and Action Paintings, but there can be many other techniques. These two classifications are just for us to interpret Abstract Expressionism easier. Turning back to Rothko’s refusal to be an abstractionist, I think his point is not that he is not an expressionist, but that it is not a matter anymore. As Galenson states, ‘The Abstract Expressionists were unified not by a style, but by a desire to reject existing methods of painting, and to discover novel images in the process of making their works.’ [14]

Because the feelings are unreachable, every attempt to turn intangible into tangible representations is worthless. The visual elements still have their limitation and boundary. No medium can completely convey the intangible world, even when artists can gather all materials on earth and use all materials available to transfer their sadness for example. Moreover, the understanding of abstract expressionism paintings are not just be challenged by the medium but also by ourselves, because of human’s personalization. Our unique characteristics lead to diverse perceptions on visual elements. We can never understand Pollock either Rothko if we are not them. For example, audiences could find themselves touched by Mark Rothko’s ‘No 37’ differently. Someone feels angry, someone feels rebellious, someone feels depressed, someone feels threatened, these different feelings lie in their different life experiences to the events related to red. Therefore, Abstract Expressionism has a strong openness but also a very individuality.

Because of these sophistications, Abstract Expressionism has many critics. Landau notes that someone says Pollock’s paintings to be overly simplistic and nothing but a mess, they lack harmony and organizing that strayed far from art’s principles.[15] It is reasonable, because Expressionism paintings are not similar to classical realistic artworks. There are no people either objects recognizable that may cause confusion and frustration. This is also the challenge of Abstract Expression being inaccessible to wide range of people who often seek something tangible in artworks that they can relate to. However, despite constituting a minor number, audiences of Abstract Expressionism often engage themselves strongly to the artworks. Once something is recognized from the paintings, they are highly regarded for the artists’ effort and talent. In fact, abstract expressionism is not just sophisticated but also highly consistent and reaches perfect balance, expressionists did not paint them carelessly but otherwise fully concentrated and controlled on their process of paintings. Pollock states that his paintings were driven by united subconsciousness flowing spontaneously, ‘It is only when I lose contact with the painting that the result is a mess. Otherwise there is a pure harmony.’[16] Kandinsky indicates that comparing to other types of art, abstract paintings may be the most difficult to executed, artists are not only required to be knowledgeable and strongly sensitive but also need an endless effort throughout practices of painting.[17] The valuable point is the artists’ inner personality and strong emotions, people cannot enter Abstract Expression without foundation skills of art. Galenson states, ‘The innovations of the Abstract Expressionists were based on extended experimentation, as each artist worked by trial and error to develop distinctive gestures that would yield novel images, they believed that real achievement could result only from long periods of painstaking research.’[18]

So, how to approach Expressionism paintings? This essay will analyse Jackson Pollock’s ‘Blue Poles’ (1952) and Mark Rothko’s ‘№37’ (Red) (1954) to clarify a suggestion.

Firstly, the essay investigates Pollock’s ‘Blue Poles’ (1954).[19] Measuring 212 height x 489 width (centimetre), Blue Poles is seen as relative large compared to most of Pollock’s works.[20] This is regarded as Gestural Expressionism or Action Painting, which focuses intensely on the artists’ physical movements when painting. Pollock uses various tools and medium to create overlapping layers with different colours. ‘Blue Poles’ is made from a solid foundation of black paint, then becomes thinner with layers of dark green and grey overlapped by other layers of red-orange, yellow, and white. The upper layers of black and blue finish the process. According to National Gallery of Australia, apart from the foundation background and the ‘blue poles’ layer, others were formed by techniques of dripping and flicking paint randomly onto canvas with Pollock’s favourite medium like brushes, sticks, rags, etc.[21] Using these medium, Pollock created depth by vibrancy of colours and complexity in textures that generated a feeling of chaos, which is illustrated as a very unique and identified personality of him.

When detaching ‘Blue Poles’ into different layers of each colour, they are seen to have specific patterns that constitute general harmony and balance for the whole painting. This perception had already been revealed by many researches. Hajali states ‘Blue Poles’ achieves the rhythm of nature that has ‘pattern repeated in plant growth, living organisms and other organisms, micro and macro environment.’[22] So, this can reconfirm the complexity and thoughtfulness of abstractionists. Pollock also once states ‘It may seem that I have no control over what colours poured coincidence. But I do not practice the right word, because when I draw, it is the inner power or subconscious and I after him (I own my main and my true) I (my physical body) do overcome and I am painting with full control.’ [23] In Pollock’s painting specifically and other Abstract Expressionism artworks generally, there are always principles lying behind that developed through years of practicing and experimenting. Therefore, even though at first, the abstract expressionism paintings can look non-sense and can be imitated by anyone, but actually the great artworks never can be a bluff.

Secondly, regarding ‘№37’ (Red) painted by Mark Rothko in 1954, the scale is 209.5 height x 125.3 width (centimetre), stated by National Gallery of Australi.[24] This is one Colour-Field painting which concerned with pleasure and deep contemplation. In this painting, Mark Rothko used a unique technique of bleeding the washed colours into the canvas, built up the painting by colour blocks with different hue, fraction and shape. The colours themselves become both surface and subject of the artwork. Therefore, the colour surfaces and textures of the canvas are united, create pleasurable experience. The artwork accordingly generates a powerful and intense sound of mind but also turns out to be calm and silent. Comparing to ‘Blue Poles’ Action Painting where there are chaotic feelings, this Colour Field Painting is quiet, brings about a sense of self-contemplation.

To understand the powerful effect of colours in this technique, some experiments are made. Firstly, I tried to imitate the original work by generating four tones of red into different surfaces, with original fraction and shape. The lightest white-red colour was applied in the paper as the background, then, pink-red, light pink and orange blocks were arranged on the existing background. Then, I did some experiments to understand the painting’s elements. The first experimental painting kept the imitating work’s colour tones and arrangement of layers (the lightest background laid beneath other rectangular colour blocks) but with a different fraction of the blocks’ sizes. The second experiment illustrated the same blocks’ sizes and layers’ arrangement but changed the colours. The third experiment kept the fraction of sizes and colour tones but was arranged in different way (there is no more background embracing colour blocks but now, all colours looked like separated surfaces lying next to each other without a reactive relationship). The results revealed that all three versions bring about very different feelings. It shows how colour’s properties like hue or condensation with different arrangements can have significant impact on the emotion of the artworks. That is why Mark Rothko could create masterpieces from just manipulating colour-fields.

In conclusion, after analyzing these two paintings, the principles and concepts of Abstract Expression are reconfirmed. Abstract Expression are recognizable by spontaneous utilization of diverse medium to create intense emotions from visualization. It shows the artist’s high creativity and strong personality. There are no common ideas planned ahead when they paint and the final topic is not related to any concepts in real life. That is why there has been many critics. So, how might people resolve their confusion when approaching Abstract Expressionism paintings? It is suggested that all we need to do is just calmly siting down and watch the paintings, with a clear mind, to concentrate on the medium, feel the hue and lightness of colors, the brushstroke, the shape, or artists’ gestures. It is useful to omit all distractions from stereotypes and intentional opinions, to enjoy any of inner feelings occurring. But there is still the case we can never understand the paintings perfectly if we are not the authors, because human beings are identifiable with our own emotional reactions and personalities. So, in the end, we may have to accept that we can never comprehend Abstract Paintings to the fullest. That is why one of the proper approaches might be just individually reflecting ourselves on what we see, to unlock thoughts inside our mind and enter our own intangible world that so private and personal that no one can ever touch.

FOOTNOTE

[1] R. Klin, Abstract Expressionism for Beginners, Steerforth Press, 2016, p.5.

[2] S. Gablik, ‘Minimalism’, Concepts of Modern Art, 1991, p. 245.

[3] ibid.

[4] D. C. Fox, ‘Comparing Abstract Expressionism And Pop Art’, David Charles Fox [website], 14 October 2016, <https://davidcharlesfox.com/comparing-abstract-expressionism-pop-art/>, accessed 20 May 2019.

[5] D. W. Galenson, ‘Pricing revolution: From abstract expressionism to pop art’, Research in Economics, vol. 72, no. 1, Elsevier, 2018, p.87.

[6] ibid.

[7] E. Landau, Reading Abstract Expressionism: Context and Critique, Yale University Press, 2005, p. 8

[8] R. Klin, op. cit., p.9.

[9] S. M. Kootz, The Intrasubjectives, Newyork, 1949, cited in E. Landau, loc. cit.

[10] J. Golding, Paths to the Absolute : Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko and Still, Princeton University Press, 2000, p. 113.

[11] S. Hajali, ‘Abstract Expressionism: A Case Study on Jackson Pollock’s Works’, Journal of History, Culture & Art Research, vol. 5, no. 4, 2016, p.311.

[12] M. Rothko, n.d., cited in E. Landau, op. cit., p. 142.

[13] MoMA, ‘Robert Rauschenberg. White Painting. 1951’, MoMA [website], n.d., <https://www.moma.org/audio/playlist/40/639>, accessed 15 April 2019.

[14] D. W. Galenson, loc. cit.

[15] E. Landau, op. cit., p. 17.

[16] J. Pollock, n.d., cited in E. Landau, op. cit., p. 140.

[17] W. Kandinsky, Concerning the spiritual in art, Courier Corporation, 2012, p. 2.

[18] D. W. Galenson, op. cit., p.90.

[19] National Gallery of Australia, ‘Blue poles [Number 11] 1952’, NGV [website], n.d., <https://nga.gov.au/international/catalogue/detail.cfm?IRN=36334>, accessed 20 April 2019.

[20] ibid.

[21] ibid.

[22] S. Hajali, op. cit., p.313.

[23] J. Pollock, n.d., cited in S. Hajali, op. cit., p.317.

[24] National Gallery of Australia, ‘Untitled (Red) (1956) Mark ROTHKO’, NGV [website], n.d., <https://www.ngv.vic.gov.au/explore/collection/work/4319/>, accessed 23 April 2019.

BIBLIOGRAPHY

Fox, D.C., ‘Comparing Abstract Expressionism And Pop Art’, David Charles Fox [website], 14 October 2016, <https://davidcharlesfox.com/comparing-abstract-expressionism-pop-art/>, accessed 20 May 2019.

Gablik, S., ‘Minimalism’, Concepts of Modern Art, 1991, p. 245.

Galenson, D.W.,‘Pricing revolution: From abstract expressionism to pop art’, Research in Economics, vol. 72, no. 1, Elsevier, 2018, p.87.

Golding, J., Paths to the Absolute : Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko and Still, Princeton University Press, 2000, p. 113.

Hajali, S., ‘Abstract Expressionism: A Case Study on Jackson Pollock’s Works’, Journal of History, Culture & Art Research, vol. 5, no. 4, 2016, p.311.

Kandinsky, W., Concerning the spiritual in art, Courier Corporation, 2012, p. 2.

Klin, R., Abstract Expressionism for Beginners, Steerforth Press, 2016, p.5.

Landau, E., Reading Abstract Expressionism: Context and Critique, Yale University Press, 2005, p. 8

MoMA, ‘Robert Rauschenberg. White Painting. 1951’, MoMA [website], n.d., <https://www.moma.org/audio/playlist/40/639>, accessed 15 April 2019.

National Gallery of Australia, ‘Blue poles [Number 11] 1952’, NGV [website], n.d., <https://nga.gov.au/international/catalogue/detail.cfm?IRN=36334>, accessed 20 April 2019.

National Gallery of Australia, ‘Untitled (Red) (1956) Mark ROTHKO’, NGV [website], n.d., <https://www.ngv.vic.gov.au/explore/collection/work/4319/>, accessed 23 April 2019.