Catching one Jackson Pollock in the flesh is already something, so imagine the opportunity to see an entire exhibition of the artist’s black paintings. Such a chance is now ripe for the taking thanks to the Dallas Museum of Art and its groundbreaking exhibition Blind Spots, the largest survey of Pollock’s black paintings that has ever been assembled. Featuring many works that have not been exhibited for over 50 years, including several that were considered lost, the exhibition hones in on a crucial period of Pollock’s career in a way not seen before.
Comprised of over 70 paintings, sculptures, drawings and prints, the exhibition is curated by Dallas Museum of Arts senior contemporary art curator Gavin Delahunty, and is jointly organized with Tate Liverpool, where he previously served as Head of Exhibitions and Displays. Tate Liverpool ran a smaller version of the show in June, but Dallas Museum of Art’s presents its full vision.
'While several of Jackson Pollock’s contemporaries combined black and white, his black paintings were exceptional in their absolute merging of color and surface, which went over and above what Pollock himself had previously achieved,’ says Delahunty. ‘This is a crucial difference for many contemporary artists revisiting Pollock’s work today. The exhibition offers the opportunity to address ‘blind spots’ in the current understanding of the artist’s practice, offering a new perspective on his lasting contributions to post-war and contemporary art.’
From Pollock’s classic drip paintings made between 1947 to 1950, to a series of black enamel paintings that he created from 1951 and 1953, and around 30 works on paper that Pollock made during the same time using watercolour, enamel and ink, the exhibition presents a multi-dimmensional portrait of Pollock that aims to surprise. To this end, five of the six sculptures that Pollock ever made are also included.
'As one of the first American museums to acquire Pollock’s work, it only is fitting that the Dallas Museum of Art should present this definitive exhibition of the black paintings, engaging a new generation of audiences with this important and under-examined aspect of the artist’s practice,' Delahunty sums up.