Review of the Catalogue 'Jackson Pollock: Blind Spots'

Michael Fried’s essay, ‘Some new category’: Remarks on Several Black Pollocks featured in the catalogue of Tate Liverpool’s exhibition Jackson Pollock: Blind Spots asks us to view Pollock’s work as a continuation in the trajectory of art history. Whilst the exhibition presented Pollock’s paintings from 1951-1953, this review will explore the work displayed in the exhibition in relationship to his textual interpretation.

Fried’s essay argues how at the heart of Pollock’s all-over canvases was the attempt to prise line loose from the task of figuration. Through this it can be argued that he extends a precedent set previously by Clement Greenberg, suggesting that Pollock’s work is not the product of a conveyor belt of chaotic actions, but rather, a careful continuation of the Impressionist artists. Greenberg further argues that ‘art is - amongst other things continuity