<snip>
Sorry, Chris, for reacting that way--I had actually thought to use Pollock
as an example of temporality. It does make a difference being in the
presence of the paintings, which is easy to do in NY. [MW]
<snip>
Actually I think we agree almost entirely upon Pollock, by the sound of it.
Being 'forced to penetrate the space' is very much my own experience. In
such a context, my 'shallow pictorial space' was simply meant to evoke how
Pollock's use of an implied third dimension reinforces the intensity of the
apparent surface. And being in the physical presence of his paintings is
indeed hugely rewarding, as you suggest.
As to temporality, yes you're right. *Autumn Rhythm*, for example. However,
I'd still want to maintain, I think, that Pollock's rhythmic energy is in
the service of his space and that said space is volumetric. (I also think
there's something in the fractals point mentioned by Douglas C, as it
happens.)
<snip>
What's a stroop effect, and who was stroop?
<snip>
Alas the name of its originator, J Ridley Stroop, an experimental
psychologist, fully justifies the fun that's been had at his (and my)
expense. His parents were both badly surnamed and profoundly ill advised,
making him one of a select group to which the Reverend Canaan Banana also
belongs. (John R Stroop might just about have passed muster, I suppose.)
As to the effect itself, Johns makes use of it when he prints the name of a
colour other than in the colour which it names: red stencilled blue and so
forth. The viewer processes the colour before the name: the signified both
precedes and interferes with the sign, as it were. I brought it up as an
example of Johns' considerable armoury of strategies against
representational stability.
CW
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I am always doing what I cannot do yet in order to learn how to do it
(van Gogh)
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