tag:blogger.com,1999:blog-53658160400566098962024-02-20T08:06:32.179-08:00Pop'n RollMontazahttp://www.blogger.com/profile/18255073411421028033noreply@blogger.comBlogger10125tag:blogger.com,1999:blog-5365816040056609896.post-67770999063655225202011-08-05T22:19:00.000-07:002011-08-05T22:45:21.221-07:00warhols_brillo_boxes - the reification of the unoriginal<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRuZBFzK1BPLhprK8RCjINpfFHWx5ok_Ywl82IgoWZFGVP7PmlTJHkS892dmwU9ML1XHTX4PX7srRLRRqO1HGZjVeY4DYtI-TUCfnGZYVcTjX2fCo_nRiFC9nXmG5IbOrcNacQQLf2Y9Hd/s1600/1998.1.709-DgR_01-.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 302px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRuZBFzK1BPLhprK8RCjINpfFHWx5ok_Ywl82IgoWZFGVP7PmlTJHkS892dmwU9ML1XHTX4PX7srRLRRqO1HGZjVeY4DYtI-TUCfnGZYVcTjX2fCo_nRiFC9nXmG5IbOrcNacQQLf2Y9Hd/s320/1998.1.709-DgR_01-.jpg" alt="" id="BLOGGER_PHOTO_ID_5637614936505500690" border="0" /></a><br /><a href="http://greg.org/archive/2010/07/05/the_international_symposium_for_andy_warhols_brillo_boxes.html">the_international_symposium_for_andy_warhols_brillo_boxes </a><br /><br /><br /><br />excerpt : The Authentication Board hastily examined the Stockholm Type boxes and issued a letter to owners, saying there were two types of Stockholm Box, one of which might actually have been made in 1968 or so. Maybe there are 10 of those. But there are no documents so far authorizing either those 10, or the 105 Hulten made, only the Stable Gallery and the Pasadena boxes, that's it. So far. And yet they fully accepted the Stockholm Boxes, no sweat. At this point, the only thing the Warhol Foundation people <em>are</em> saying is that they had nothing to do with this mess.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-46222720300422761722011-06-17T22:20:00.000-07:002011-06-17T22:20:00.387-07:00The Creative Act<a href="http://ubu.artmob.ca/sound/aspen/mp3/duchamp1.mp3">Duchamp - The Creative Act</a>Montazahttp://www.blogger.com/profile/18255073411421028033noreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-30894742824385179022011-06-03T18:23:00.000-07:002011-06-03T18:32:45.378-07:00Uncanny Valley - Masahiro Mori<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiReIlPllMD6C2yHIswhoegOy2T77DM7gsuqjrLRv-Ql2LZhIP_zOeewSUrRS48qmeLcZL0xIOUHCWklD5Ow-b2HR9WNzWKuBV9uM8UohZBBot_wo6c8vAXEUV3gAMt1pVT6dCvSroI0Dj2/s1600/461px-Mori_Uncanny_Valley.svg.png"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiReIlPllMD6C2yHIswhoegOy2T77DM7gsuqjrLRv-Ql2LZhIP_zOeewSUrRS48qmeLcZL0xIOUHCWklD5Ow-b2HR9WNzWKuBV9uM8UohZBBot_wo6c8vAXEUV3gAMt1pVT6dCvSroI0Dj2/s320/461px-Mori_Uncanny_Valley.svg.png" alt="" id="BLOGGER_PHOTO_ID_5614171465971835442" border="0" /></a><br />Mori's hypothesis states that as a robot is made more humanlike in its appearance and motion, the emotional response from a human being to the robot will become increasingly positive and <a href="http://en.wikipedia.org/wiki/Empathy" title="Empathy">empathic</a>, until a point is reached beyond which the response quickly becomes that of strong revulsion. However, as the appearance and motion continue to become less distinguishable from a human being, the emotional response becomes positive once more and approaches human-to-human empathy levels.<sup id="cite_ref-mori33_5-0" class="reference"><a href="http://en.wikipedia.org/wiki/Uncanny_valley#cite_note-mori33-5"><span>[</span>6<span>]</span></a><br /><br /><< wikipedia >><br /><br /><br /></sup>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-61282639245016081612011-05-20T23:57:00.000-07:002011-05-20T23:58:17.770-07:00justin mortimer<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-tWzkR8brESOh5T1qHKJgtX_G4w_P4G8jphJ7CRbQhouER9kOz32Fxkxr_1bDTIyYxxlwJzo2cuEUE8kvkS7OUw6qf5TWLnQB-HKfo-VZurYQqW5pXFnSQj2r45MFSlSmXsX9doC0Xq9T/s1600/Justin+Mortimer.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 241px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-tWzkR8brESOh5T1qHKJgtX_G4w_P4G8jphJ7CRbQhouER9kOz32Fxkxr_1bDTIyYxxlwJzo2cuEUE8kvkS7OUw6qf5TWLnQB-HKfo-VZurYQqW5pXFnSQj2r45MFSlSmXsX9doC0Xq9T/s320/Justin+Mortimer.jpg" alt="" id="BLOGGER_PHOTO_ID_5609060149689460642" border="0" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-65724339958606395092011-05-20T23:51:00.001-07:002011-05-20T23:52:07.600-07:00Adrian Ghenie<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDuvxb9LDX6-H-KjHotQf0GhUG2VjlLF166CR7FipLnT_fJEJc4VZFylZnTD9YJUiRQ-_e2BZ1dh8GCtGPFww5P-Jj45MAlt3FG7kRbNTx-IHTbpW3dI3azXGTuZJMIQYh-WYyf58Gg4Qi/s1600/Adrian+Ghenie.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDuvxb9LDX6-H-KjHotQf0GhUG2VjlLF166CR7FipLnT_fJEJc4VZFylZnTD9YJUiRQ-_e2BZ1dh8GCtGPFww5P-Jj45MAlt3FG7kRbNTx-IHTbpW3dI3azXGTuZJMIQYh-WYyf58Gg4Qi/s320/Adrian+Ghenie.jpg" alt="" id="BLOGGER_PHOTO_ID_5609058531686300658" border="0" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-59457863030704705802011-05-16T01:06:00.000-07:002011-05-16T01:08:01.825-07:00The Existential vs. the Absurd<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_k76SKwmaRpkyRDtQldmGOWgx7N34SjxBCEdfyJ4PYGaLL72e8zK-pQnsuaN2a2zJMBDS2fMgiayfC7WlzNQDPts4DVggxpueZshZumEJdsHWhtrKD3gI38KtNOFVgT0gaOyUx0LzLA16/s1600/sisyphus.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_k76SKwmaRpkyRDtQldmGOWgx7N34SjxBCEdfyJ4PYGaLL72e8zK-pQnsuaN2a2zJMBDS2fMgiayfC7WlzNQDPts4DVggxpueZshZumEJdsHWhtrKD3gI38KtNOFVgT0gaOyUx0LzLA16/s320/sisyphus.JPG" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;"> Pictured: Sisyphus </span><span style="font-size: x-small;">(1548-1549) by Titan</span></i></td></tr>
</tbody></table><i><span style="font-size: x-small;"></span><span style="font-size: x-small;"><br />
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<div style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;"><br />
</span></b></div><div style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;"> The Existential vs. the Absurd </span></b></div><div style="font-family: Arial,Helvetica,sans-serif;"><b><span style="font-size: small;"> The Aesthetics of Nietzsche and Camus</span></b></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div>The following Link will take you to an academic paper that is well worth the effort to get your hands on, whether through the proper licensing or a jstor account access to this document will allow for a brilliant resource on the understanding of Absurd & Existential Aesthetics of Art.<br />
<br />
The document that is linked below discuss the various aspects in depth, that make up the Aesthetics of Existentialism & The Absurd both in specific regard to their pioneers, Nietzsche & Camus. The study of these specific philosophers and their contributions to these fields fit extremely well with my own conceptual handling of works in literature, art and film.<br />
<br />
I recommend reading this essay, the conclusion of which fits nicely in furthering our understanding of how these philosophical benchmarks have effected our current context, the post-modern world.<br />
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<i>"An artist... if he can tell himself that, finally, as a result of his long effort, he has eased or decreased the various forms of bondage weighing upon men, then in a sense he is justified...."</i><br />
-Albert Camus<br />
<br />
<i>"The profound Greek, so uniquely susceptible to the subtlest and deepest sufferings ... was saved by art, and through art life reclaimed him...." </i><br />
- Friedrich Nietzsche <br />
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<b> Follow This Link:</b><br />
<a href="http://www.jstor.org/stable/428426">http://www.jstor.org/stable/428426</a>Montazahttp://www.blogger.com/profile/18255073411421028033noreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-45288843311094341702011-05-11T00:27:00.000-07:002011-05-11T02:59:30.949-07:00Before Radar, We We're Quite Deaf...<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJAcFQu8G_-r9oY2XLvrI8qqzPeY0e4yN6bzoiAOE5PrvJeIk3dsIF09gGuk_l4PXP1yEd3QBdDeruP8MldOhMUdWb93ownOMDrqelFupyucq8qRDZQ1mtPEHXEL3J7v_kXdUhyKqaIbYG/s1600/fail1a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJAcFQu8G_-r9oY2XLvrI8qqzPeY0e4yN6bzoiAOE5PrvJeIk3dsIF09gGuk_l4PXP1yEd3QBdDeruP8MldOhMUdWb93ownOMDrqelFupyucq8qRDZQ1mtPEHXEL3J7v_kXdUhyKqaIbYG/s1600/fail1a.jpg" /></a></div><span style="font-family:ARIAL;"></span><br /><h5><span style="font-family:ARIAL;"><span style="font-family:ARIAL;"><b><span style="color:brown;"><h5> </h5><h5 style="color:#999999;"> <span style="font-size:small;">The Failed Inventions of A Desperate Situation </span></h5><h5><span style=" ;font-size:small;color:black;">The Image above was taken during a period where radar technology was yet to be invented & airplane's ruled the sky's. In a desperate attempt to combat this threat and weakness in the worlds military at the time many inventors took to the labs to find some answer. From this came obscure, cumbersome and failed but all interesting inventions, machines of war that looked more like humorous prop than a potential answer to disaster. As this period came to an end and radar was invented and various other devices to combat the problem we are left with these strange, forgotten images of inventions now mostly lost that seem completely surreal and out of context to any situation, especially that of wartime.</span></h5><h5><span style=" ;font-size:small;color:black;">These images leave behind an absurd theme of mankind struggling to perceive or understand this danger beyond their natural sensory ability</span><span style="font-size:small;"> </span><span style=" ;font-size:small;color:black;">to the point that science and the government</span><span style="font-size:small;"> </span><span style=" ;font-size:small;color:black;">are grabbing at strings, in some a vein attempt for survival. </span></h5><h5 style="color:#666666;"><span style="font-size:small;">"Jean Auscher's maritime acoustic locator: 1960.</span><span style="font-size:small;"> <div>This remarkable headgear was invented by Frenchman Jean Auscher as an acoustic navigation device in case of radar failure on small vessels. Shown at the 1960 Brussels Inventor's Fair, and, one suspects, nowhere else ever again. "</div><div> </div><div>^ Refrence</div><http://www.aqpl43.dsl.pipex.com/MUSEUM/COMMS/ear/ear.htm> </span></h5></span></b></span></span></h5>Montazahttp://www.blogger.com/profile/18255073411421028033noreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-79628949429363773302011-05-06T22:12:00.001-07:002011-05-06T22:14:59.059-07:00Modernist Painting - flattness<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3DWVV0bqw_zOIE69Cwe1NpUekSLDroXE85kL1VHg27MGvHeRYJTFri0cfvJO0udL6MC4NEq7mVrMKOSpfg2HFt78vQqVq_Wk9VWn1Qt938isJbSKzPg65ZFnwMREg_Xixp7nWMawqzMI7/s1600/19781116_Greenberg5644_7A.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 220px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3DWVV0bqw_zOIE69Cwe1NpUekSLDroXE85kL1VHg27MGvHeRYJTFri0cfvJO0udL6MC4NEq7mVrMKOSpfg2HFt78vQqVq_Wk9VWn1Qt938isJbSKzPg65ZFnwMREg_Xixp7nWMawqzMI7/s320/19781116_Greenberg5644_7A.jpg" alt="" id="BLOGGER_PHOTO_ID_5603838016650228146" border="0" /></a><br />Greenebrg discussed the limitations of painting as a medium in much of his writing. It was the Old Masters who, according to him, struggled for centuries to break free from these limitations and create a depth of perspective in their work. Modern painters, however, have embraced such limitations. He wrote, "The enclosing shape of the picture was a limiting condition, or norm that was shared with the art of the theater; color was a norm and a means shared not only with the theater, but also with sculpture. Because flatness was the only condition painting shared with no other art, Modernist painting oriented itself to flatness as it did to nothing else." In other words, Greenberg pointed out that art of the theater or that of sculpture is, by their very nature, three-dimensional forms. Painting, however, is applied to a natural two-dimensional surface, and modern artists had begun to embrace that nature rather than trying to defy it.<br /><a href="http://www.theartstory.org/definition-flatness.htm"><br />Modern Art : The Story </a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-5404499911768157812011-05-06T22:12:00.000-07:002011-05-11T02:58:53.001-07:00Pop Art As A Cultural Movement<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-AoGApp1n9IvCl6HKKUm_jfdnem1hSLnj2A4EYOsKQYGLDig2a1WI8aU_fKMGbBdqAfWKr9EhixG1UudpkBKR47ajjh1fZ-bkscgRQAlpCM81cr_3iSlJSbIUvilSwbnMaRu63sCCqk0J/s1600/Warhol-BrilloBoxes-1969.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-AoGApp1n9IvCl6HKKUm_jfdnem1hSLnj2A4EYOsKQYGLDig2a1WI8aU_fKMGbBdqAfWKr9EhixG1UudpkBKR47ajjh1fZ-bkscgRQAlpCM81cr_3iSlJSbIUvilSwbnMaRu63sCCqk0J/s320/Warhol-BrilloBoxes-1969.jpg" width="250" /></a></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 24pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style="font-weight: bold;"> </span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 24pt; text-align: left; text-indent: 0pt;"><span class="Default__Char" style="font-weight: bold;">Pop</span><span class="Default__Char" style=" font-weight: normal;font-family:'ArialNarrow','Arial';"> </span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 12pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style=" font-style: italic; font-weight: bold;font-family:'ArialNarrow-BoldItalic','Arial';">Start reneging with politics , social issues , and most importantly the everyday via the Street. </span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 12pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style=" font-style: italic; font-weight: bold;font-family:'ArialNarrow-BoldItalic','Arial';">Pop as a Strategy against politics and capitalism</span><span class="Default__Char" style=" font-style: normal; font-weight: normal;font-family:'ArialNarrow','Arial';">. This can be understood as a reaction against the austere political agenda behind Abex movement and painter such as Pollock. </span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 12pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style=" font-style: normal; font-weight: normal;font-family:'ArialNarrow','Arial';">Return to freedom , what is the</span><span class="Default__Char" style=" font-style: italic; font-weight: bold;font-family:'ArialNarrow-BoldItalic','Arial';"> 'art of freedom.'</span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style=" font-style: normal; font-weight: normal;font-family:'ArialNarrow','Arial';"></span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style=" font-style: normal; font-weight: normal;font-family:'ArialNarrow','Arial';">was quoted as saying </span><span class="Default__Char" style=" font-style: italic; font-weight: bold;font-family:'ArialNarrow-BoldItalic','Arial';">'why not just make a reproduction'</span><span class="Default__Char" style=" font-style: normal; font-weight: normal;font-family:'ArialNarrow','Arial';"> , when asked of what he thought of the Mona Lisa being brought over to America from Paris for an exorbitant amount of money. </span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 12pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style=" font-style: normal; font-weight: normal;font-family:'ArialNarrow','Arial';">Individual has to be </span><span class="Default__Char" style=" font-style: italic; font-weight: bold;font-family:'ArialNarrow-BoldItalic','Arial';">free to revolt.</span><span class="Default__Char" style=" font-style: normal; font-weight: normal;font-family:'ArialNarrow','Arial';"> </span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 12pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style=" font-style: normal; font-weight: normal;font-family:'ArialNarrow','Arial';">Partly a</span><span class="Default__Char" style=" font-style: italic; font-weight: bold;font-family:'ArialNarrow-BoldItalic','Arial';"> revolutionary art. </span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 12pt; text-align: left; text-indent: 0pt;"> <span class="Default__Char" style="font-weight: bold;">Reengage with lo culture through images of the everyday. </span></div><div class="Default" style="margin-left: 0pt; margin-right: 0pt; margin-top: 12pt; text-align: left; text-indent: 0pt;"><span class="Default__Char" style="font-weight: bold;"><Image: Warhol - Brillo Boxes, 1969> </span></div>Montazahttp://www.blogger.com/profile/18255073411421028033noreply@blogger.com0tag:blogger.com,1999:blog-5365816040056609896.post-31878571669148206332011-05-06T20:51:00.000-07:002011-05-11T02:58:38.876-07:00ABEX - excerpt from Eva Cockroft's 'Abstract Expressionism, Weapon of the COld War'.<div><br /></div><div><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0B7Roj0OdoGuXQLoAvq1mMiWc6X7H_ca8l2yiC0s9eidcItOqxqg_orin4_zDPF5X3TwacUdyujB5eGOZGfbPj5t0qlT_Nc88hLN2c8IRjZopbBcGKmV5oOJukiTveBKLZncrO829ve8B/s1600/g001b_pollock_blue-poles.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 139px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0B7Roj0OdoGuXQLoAvq1mMiWc6X7H_ca8l2yiC0s9eidcItOqxqg_orin4_zDPF5X3TwacUdyujB5eGOZGfbPj5t0qlT_Nc88hLN2c8IRjZopbBcGKmV5oOJukiTveBKLZncrO829ve8B/s320/g001b_pollock_blue-poles.jpg" alt="" id="BLOGGER_PHOTO_ID_5603824798695492594" border="0" /></a><br />The functions of both CIA’s undercover aid operations and The Stoof’s international programs were similar. Freed from the kinds of pressure of unsubtle red-baiting and hyper-jingoism applied to official governmental agencies, CIA and Stoof projects could instead provide the well-funded and more persuasive arguments and exhibits needed to sell the rest of the world on the benefits of life and art under capitalism.<br /><br />In the world of art, Abstract Expressionism constituted the ideal style for these propaganda activities. It was the perfect contrast to the regimented, traditional, and narrow nature of socialist realism.<br /><br />It was new, fresh, and creative. Artistically avant-garde and original, Abstract Expressionism could show the United States as culturally up-to-date in competition with Paris. This was possible because Jackson Pollock, as well as most of the other avant-garde American artists, had left behind earlier interest in political activism. On the one hand, the youthful political flirtations of some of the Abstract Expressionists was a liability in terms of gaining congressional approval for government-sponsored cultural projects. On the other, from a cold warrior’s point of view, such linkages to controversial political activities might actually heighten the value of these artists as a propaganda weapon in demonstrating the virtues of freedom of expression in an open and free society.<br /><br />Heralded as America’s artistic coming of age, Abstract Expressionist painting was exported abroad almost from the beginning. Willem de Kooning’s work was included in the U.S. representation at the Venice Biennale as early as 1948. By 1950, he was joined by Arshile Gorky and Pollock. The U.S. representation at the Biennales in São Paulo, beginning in 1951, averaged three Abstract Expressionists per show. They were also represented at international shows in Venezuela, India, and Japan.<br /><br /><br /><< image - Pollock, J. <span class="ptgtitle"><span style="font-style: italic;">Blue Poles: Number 11,</span> 1952</span>, 1952, 212.09 x 488.95 cm, enamel and aluminium paint with glass on canvas. National Galleries Australia. >>Unknownnoreply@blogger.com0