eral notion as to what I am about. I can control the flow of the paint. There is no accident, just as there is no beginning and no end. Sometimes I lose a painting, but I have no fear of changes of destroying the image. Because a painting has a life of its own, I try to let it live (NGA, p.5).This shift in the physical relationship of the artist to his canvas allowed Pollock to develop a full-body gestural technique incorporating rhythmic movements that resembled dance and a snap of the wrist action that expressed his uniqueness in controlling the paint.It is impossible to make a forgery of Jackson Pollocks work, Time Magazine critic Robert Hughes commented. Pollocks paintings resulted in a physical performance that was unique, spontaneous, and unrepeatable event; hence, the uniqueness of his mark that is impossible to forge because Pollock dripped, poured, and spattered his pigments across the entire canvas leaving no edges exposed. Pollock continued to produce figurative or semi-figurative black and white works and modulated paintings as well as the paintings in his new style. Although he was strongly supported by advanced critics like Clement Greenberg there were those who took pot shots at him like the a reviewer for Time magazine in 1956 who nicknamed Pollock Jack the Dripper. Harold Rosenberg also criticized Pollock because he did not like his paintings. De Kooning was a real painter with incredible draftsmanship unlike Pollock according to the view generally held by Rosenberg: Action Painting solved no problems. On the contrary, it remained at its best faithful to the conviction in which it had originated: that the worst thing about the continuing crisis of art and society were the proposals for solving it. In the thirties American art had become active, having gratefully accepted from politics an assignment in changing the world. Its rol...
