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Modernisms 1900-1980
Course: Modernisms 1900-1980 > Unit 9
Lesson 1: Abstract Expressionism- Abstract Expressionism, an introduction
- Finding meaning in abstraction
- Norman Lewis, Untitled
- de Kooning, Woman I
- How to paint like Willem de Kooning
- How to paint like Willem de Kooning - Part 2
- Willem de Kooning, Woman, I (from MoMA)
- Barnett Newman
- Newman's Onement I, 1948
- The Painting Techniques of Barnett Newman
- Restoring Rothko
- Why is that important? Looking at Jackson Pollock
- Representation and abstraction: Millais's Ophelia and Newman's Vir Heroicus Sublimis
- The Case For Mark Rothko
- Rothko, No. 210/No. 211 (Orange)
- Mark Rothko's No. 3/No. 13
- The Painting Techniques of Mark Rothko
- The Painting Techniques of Jackson Pollock
- The Case for Jackson Pollock
- Jackson Pollock, Autumn Rhythm (Number 30)
- Jackson Pollock, Mural
- Paint Application Studies of Jackson Pollock's Mural
- "One: Number 31, 1950" by Jackson Pollock, 1950 | MoMA Education
- Lee Krasner, Untitled
- Robert Motherwell, Elegy to the Spanish Republic No. 57
- Franz Kline
- The Painting Techniques of Franz Kline
- Hedda Sterne, Number 3—1957
- "Low Water” by Joan Mitchell
- Beauford Delaney's portrait of Marian Anderson
- Abstract Expressionism
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"One: Number 31, 1950" by Jackson Pollock, 1950 | MoMA Education
A MoMA educator discusses how she teaches “One: Number 31, 1950" by Jackson Pollock, 1950. Visit MoMA Learning for more teaching and learning resources. Created by The Museum of Modern Art.
Want to join the conversation?
- What an interesting painting! How do people do this? Is it just paint?(1 vote)
- This is a canvas on the floor and he threw, quite literally, paint onto it.
https://www.khanacademy.org/partner-content/MoMA/moma-abstract-expressionism/v/moma-painting-technique-pollock
shows how he did it(1 vote)
Video transcript
- Hi, my name is Grace Hwang, and I'm a School Programs
Educator here at MoMA. This piece by Jackson Pollock is one of my favorite pieces to teach, just because of its sheer size and scale. And it just kind of takes up the whole wall and the whole room, and I love to think about it as a thought that kind of takes up the
whole space of your mind. It's kind of subversive, the reason why I like teaching from this object. because it really
confronts students' ideas about skill and creating art. Sometimes students will say, when they look at this
painting for the first time, that the artist must have
been angry or he's depressed, and what's interesting is to
facilitate that idea of anger. Well, what movements do
you make when you're angry? These kind of violent movements, these very strong movements
and quick movements, and to compare that with
a very opposite emotion of like excitement, and
when you're really excited about something, you're
just as moving very quickly. It's interesting to think of this painting as the collection of lines of energy, and you begin to follow
as you look at One, maybe some moments that look
sort of like electricity and kind of staticky, and then some movements that
are moving very quickly, the very thin movements
moving very quickly, and then some of these pools of paint, kind of these pauses and these lulls. A lot of times I have
students think about, you know, well, give me your first word guttural reaction to this piece, and a lot of times
they'll say things like, "Crazy, chaos, random!" And sometimes, you know,
after a conversation about things that are controlled chaos or things that are seemingly
random and out of control, it's really interesting that towards the end of the conversation,
it might go more towards thoughts about the universe being controlled chaos, or the cosmos. A lot of times conversations can get really out there and very philosophical, and I think it's kind of a
magic moment when that happens.