There’s a not-so-subtle art about being a New Yorker. Much like a Jackson Pollock piece–every movement defines a very strong emotion; deep urge; challenged spirit; unseen possibility; thickness of character; blurred intent; desperate hope; and a thinning line of innocence–hard to understand until you really see it up close.
It may take someone smarter than you, perhaps a fellow New Yorker, to point out that Pollock is to be felt and not explained. Suspicious, as any good NY transplant will become, you walk up close to see the intense imperfections for yourself. Pictures and postcards–the second-hand accounts–do not capture the beautiful chaos of One: Number 31, 1950. Standing in the MoMa PS1, you understand Pollock’s masterpiece, and like the city that brought it to you, the allover approach is now all over you.
A closer look at this work reveals some of the decisions made in the act of painting: the selection of colors; the use of contrasting matte and glossy paints; if the lines would be thick or thin, fast or slow; whether to wait for the paint to dry or to work wet-on-wet, so that different paints bleed and pool; and a host of others. Only when the painting was completed did Pollock determine where the edges should be. In One: Number 31, 1950, Pollock left a breathing space bordering all four sides of the field of paint. However, in other paintings, the lines and spatters continue beyond the edges.–MoMa
After an unspecified amount of time has passed, you walk away with a Pollock-thick inspired aesthetic that you carry with you wherever you go–this is the art of being a New Yorker.
New York, I will miss you.