Peter, if you are referring to Jackson Pollock, he did not throw paint, he drew with it. His control was less than for an artist brushing paint on canvas, but that was deliberate. He wanted gravity and centrifugal force and other forces of nature to co-create the works with him. ("I am nature," he said.) Nevertheless, his own personal control was considerable. If you watch the films made of Pollock painting, you see that the applications of paint were never random, but carefully placed in relation to already existing shapes on the canvas.

All of  the other abstract expressionists applied paint in the traditional manner, even if they did use housepainter's brushes. Not one of them threw paint.


Peter wrote: "I doubt that the random-throwing-of-paint technique would get much play here."

From:  Peter Montgomery <[log in to unmask]>
Reply-To:  "T. S. Eliot Discussion forum." <[log in to unmask]>
To:  [log in to unmask]
Subject:  Re: Juxtaposition
Date:  Fri, 8 Jun 2007 00:20:57 -0800
I guess it depends on the effect one wants to create,
but therein lies the opportunity for skill to do its work,
both skill in perception and execution. I doubt that
the random-throwing-of-paint technique would get much
play here.

----- Original Message -----
From: "Carrol Cox" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, June 07, 2007 4:35 PM
Subject: Juxtaposition

> While abrupt juxtapositions without accompanying label of their point
> are prominent in much 20th-c writing, it is well to keep in mind Pound's
> warning (paraphrased from memory) against any old rotten cabbage thrown
> on any fine silken couch. There is, for example, a certain
> tongue-in-cheek quality to Pound's lines in Canto VII --
> "Beer-bottle on the statue's pediment!
> "That, Fritz, is the era, today against the past,
> "Contemporary."
> Carrol
> --
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2:21 PM

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