In "Lee Krasner: The Unacknowledged Equal," published by the Pollock-Krasner Foundation, critic and scholar Carter Ratcliff investigates Krasner's life and practice from her early days as Hans Hofmann's student to the production of her late masterworks. Through meticulous research and careful analysis, Ratcliff provides detailed insight into the evolution of Krasner's work, worldview, and relationship with Jackson Pollock-definitively bringing her out of Pollock's shadow. Ratcliff goes beyond giving Krasner her rightful due, he sheds new light on her accomplishments and argues that Krasner was as much the inventor of "allover" painting as Pollock.

Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.

Pollock's Modernism provides a new interpretation of the art of Jackson Pollock (1912-1956), one that is based on a phenomenological investigation of the pictorial effects of particular paintings. Focusing on major works that span the artist's career - including Mural (1943), Cathedral (1947), Number 1A, 1948, One: Number 31, 1950, and Portrait and a Dream (1953) - Michael Schreyach argues that Pollock's achievement is best understood by attending to how, technically and formally, he instituted certain modes of pictorial address and structures of beholding in his paintings. From this perspective, Pollock is shown to be an artist who transformed the means by which the phenomenological interdependence of sensation and cognition in our embodied experience could be represented. Offering a provocative counter-argument to dominant accounts of Pollock's work, this book advances bold claims about Pollock's intentions as they are expressed in his art, and illuminates what constituted the artist's unique form of modernism at mid-century.

Priscilla the Cow is searching for meaning in her boring life on the farm.

Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.

In the years during and just after World War II, the Danish artist Asger Jorn (1914-73) and the American painter Jackson Pollock (1912-56) came to play major roles in the development of a new Abstract Expressionist art. Both drew on Surrealism and Picasso to explore automatism in painting, each breaking through to a unique style around 1943, when Pollock had his first show at Peggy Guggenheim's gallery, and Jorn established the groundwork for working collectively that would lead to the founding of the CoBrA group. In both cases, this led to an incredibly energetic, primitive-seeming painting (although Jorn retained more figurative elements than Pollock). Alongside more than 100 color reproductions, Jorn & Pollock: Revolutionary Roadsincludes the essays "Image Revolutions - Abstract Expressionism and What Looks Like It in Jorn and Pollock" by Anders Kold; "In the Shadow of Picasso: Asger Jorn and Jackson Pollock" by British art historian Jeremy Lewison; "Sounds in the Grass" by Axel Heil; and "Simpler Evolutions" by Courtney Martin, which discusses the British critic Lawrence Alloway's comparisons of the two artists.

A richly illustrated monograph on the life and work of Lee Krasner, one of the twentieth century’s most inspiring women artists and a pioneer of abstract expressionism. In 1984, Lee Krasner (1908–1984) became one of the few women artists to have been given a retrospective at the Museum of Modern Art, New York. She quipped about her belated recognition: “I was a woman, Jewish, a widow, a damn good painter, thank you, and a little too independent.” One of the original pioneers of abstract expressionism, Krasner has for too long been eclipsed by her husband, Jackson Pollock. In fact, his death in 1956 marked her renaissance as an artist. Coinciding with a major exhibition at Barbican Art Gallery, Lee Krasner features an outstanding selection of her most important paintings, collages, and works on paper, contextualized by photography from the postwar period, an illustrated chronology, and an unpublished interview with her biographer Gail Levin. This richly illustrated monograph is a comprehensive survey of the work of one of the twentieth century’s most dynamic artists.