Jackson Pollock’s unconventional working methods — spreading a piece of unstretched, unprimed canvas on the floor of his Long Island studio and then pouring, splattering and literally flinging industrial paints across its surface — have long been part of his myth, performance art executed without an audience.
“On the floor I am more at ease,” he once wrote. “I feel nearer, more part of the painting since this way I can walk around it, work from the four sides and literally be in the painting.”
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