As Kraner told it, he stared  *******        at the blank canvas for days that turned into weeks that turned into months. Guggenheim,
           at first simply concerned,                  became increasingly frustrated
       with his progress. She finally          
              gave ******* an ultimately he was finished       destruction & regeneration      waves          lee         autumn: Finish the painting for a party
                    I’m throwing in January, or your stipend is history. When Krassner went t          o sleep the night before the deadline    lee           dead line     Lee    m       , ******* still hadn’t mad      brush strokes   brown      Sylvia       Krasner                  e a single mark                  . She was certain that his career was over.        his brushes        When she awoke the next morning, the 160-square-foot canvas had been transformed into a frenzy                 of energetic brushstrokes. Teal, yellow, r      energy          North                          ed, and black              brushes                    
   Pollack grew up in Wyoming surrounded by Indians & ghosts                                  marks looped                    and whirled on a chastened            white                    background, a                     ghosts of I       ndian wa        rriors      stampeding                    
      visions                                         vision ******* later described as “a stampede of every animal in the American West,  animals             W         est            cows and horses and antelopes and buffaloes. Everything is charging across that *******                   surface.” ******* rolled up the I
      want u to move in w/ me            canvas                     and and delivered it to Guggenheim’s apartment     Peggy was so grateful she ****** him                                        
  Series), 1946, o/c (50 x 43") *******: Full Fathom Five, 1947; oil and nails, tacks, etc., on canvas
(50 x 30")
the gesture becomes the act of pouring and moving
the surface of th                     e painting becomes thicker     Pollack wasn't a thinker   Motherwell married Frankenthaler    
  before ther             e was pop art there was not art                     r       thicker, preventing any s      art             ense of real separation between ground         gay don't call it art
     a miracle like              the raising of Lazarus                and foreground, \ that man is u            para disus dei        and forcing the viewer to respond to the painting       big        sad        tragic       corpses                 in two ways: up        Plath              Arbus                  close and from a distan       ce Peggy      Guggenheim commissioned Pollack's first large mural for her M                 anhattan townhouse mural
   Merce                           with hours to spare.   Pollack knew every     popm   freckle on her body                         literally       seeing a Jungian therapist,         Pollack never             spoke
                      instead spending his sessions                drawing which d his therapist n would later interpret                  dragg
Batmannn                    i   ­    ed his mind was on fire;        burn, baby, burn                        is stupid, drunken *** into her      be           droom & w rode him like a ***** & made him bite her   leaving teeth marks on her rich pale skin