In the sumÂmer of 1950, Hans Namuth approached JackÂson PolÂlock and asked the abstract expresÂsionÂist painter if he could phoÂtoÂgraph him in his stuÂdio, workÂing with his “drip” techÂnique of paintÂing. When Namuth arrived, he found:
A dripÂping wet canÂvas covÂered the entire floor. BlindÂing shafts of sunÂlight hit the wet canÂvas, makÂing its surÂface hard to see. There was comÂplete silence.… PolÂlock looked at the paintÂing. Then unexÂpectÂedÂly, he picked up can and paintÂbrush and startÂed to move around the canÂvas. It was as if he sudÂdenÂly realÂized the paintÂing was not finÂished. His moveÂments, slow at first, gradÂuÂalÂly became faster and more danceÂlike as he flung black, white and rust-colÂored paint onto the canÂvas.
The images from this shoot “helped transÂform PolÂlock from a talÂentÂed, cranky lonÂer into the first media-driÂven superÂstar of AmerÂiÂcan conÂtemÂpoÂrary art, the jeans-clad, chain-smokÂing poster boy of abstract expresÂsionÂism,” one critÂic latÂer wrote in The WashÂingÂton Post.
But Namuth wasÂn’t satÂisÂfied that he had realÂly capÂtured the essence of PolÂlockÂ’s work. He wantÂed to capÂture PolÂlock in motion and colÂor, to focus on the painter and paintÂing alike.
Above, you can watch the result of Namuth’s secÂond effort. The ten-minute film, simÂply called JackÂson PolÂlock 51 (the 51 being short for 1951), lets you see PolÂlock paintÂing from a unique angle — through glass. The film achieved Namuth’s aesÂthetÂic goals, but it came at a price. ApparÂentÂly the filmÂing taxed PolÂlock emoÂtionÂalÂly, and by the evening, the painter decidÂed to pour himÂself some bourÂbon, his first drink in two years. A blowout arguÂment folÂlowed; PolÂlock nevÂer stopped drinkÂing again; and it was downÂhill from there…
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RelatÂed ConÂtent:
MoMA Puts PolÂlock, Rothko & de KoonÂing on Your iPad
Steven SpielÂberg Admits SwalÂlowÂing a TranÂsisÂtor to Andy Warhol
