A visit to the Metropolitan Museum of Art for a look at the museum’s collection of post-war and contemporary art. Randall Griffey, curator of Modern and Contemporary Art at the Met, talks about Jackson Pollock’s “Autumn Rhythm” from 1950.

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> NEXT, WE VISIT THE METROPOLITAN MUSEUM OF ART FOR A FRESH LOOK AT THE MUSEUM'S COLLECTION OF POST-WAR AND CONTEMPORARY ART.

EPIC ABSTRACTION POLLACK TO HERERRA, PAINTING, SCULPTURE, AND OTHER WORKS OF ART.

THE EXHIBIT SEEKS TO BROADEN THE NARRATIVE OF ABSTRACTION BRINGING TOGETHER SOME 50 WORKS FROM THE MET COLLECTION.

REPRESENTED HERE ARE SUCH ICONIC ARTISTS AS JACKSON POLLACK.

MARK ROSCO.

CARMEN HERRERA AND MARK BRADFORD.

RANDALL, CURAOR OF MODERN AND CONTEMPORARY ART AT THE MET LOOKS AT A SINGLE WORK FROM THE EXHIBITION.

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WE'RE LOOKING AT JACKSON POLLACK'S AUTUMN RHYTHM FROM 1950.

THE PAINTING CAME INTO THE COLLECTION IN 1957 AND ONE OF THE TREASURES OF THE MET'S MODERN COLLECTION.

POLLACK IS MOST REMEMBERED AS A KEY FIGURE IN AMERICAN ART OF THE 20th CENTURY FOR THESE LARGE-SCALE SO-CALLED DRIP PAINTINGS WHICH HE STARTED TO DO IN THE LATE 1940s AND INTO THE EARLY 1950s.

THESE WORKS HAVE A GREAT SENSE OF IMMEDIACY FOR A RANGE OF REASONS.

ONE IS THAT THEY'RE LARGE WHICH RELATIVE TO YOUR OWN SCALE MAKES YOU FEEL A LITTLE BIT SMALL BY COMPARISON.

ONE OF THE WAYS IN WHICH POLLACK PLAYED A KEY ROLE IN CHANGING THE VERY CONCEPT OF PAINTING IS THAT HE MOVED THE CANVAS FROM THE EASEL TO THE FLOOR.

AND HE ALSO BEGAN WORKING WITH COMMON HOUSEHOLD ENAMEL PAINT.

HE LIKED THIS PAINT BECAUSE IT WAS VERY VISCOUS SO IT'S THE KIND OF PAINT THAT YOU CAN THROW AND CREATES THESE DYNAMIC DRIPS AND DRIBBLES AND THESE WHIPS OF PAINT THAT SEEM TO BE CAPTURED IN SPACE ON THE PICTURE.

IN THE CASE OF 'AUTUMN RHYTHM' SOME OF THE PAINT IS THIN AND ELEGANT AND QUITE GRACEFUL WHEREAS OTHER PASSAGES ARE DENSE AND MORE AGGRESSIVE AND THICKER.

THERE ARE PASSAGES ALSO OF IMPASTO WHERE HE'S USED PART OF THE ENAMEL PAINT THAT HAVE DRIED AND CREATED A KIND OF SKIN.

A THREE-DIMENSIONALITY ON THE PICTURE EVEN AS THE PAINT REGISTERS AS FLAT.

WHEN PEOPLE FIRST ENCOUNTER POLLACK'S WORK, THEY SEE IT AS FULLY INTUITIVE, IMPROVISATIONAL, WITHOUT ANY KIND OF PLAN OR GUIDING PRINCIPLE.

IN FACT, AS YOU LOOK AT MULTIPLE WORKS BY POLLACK, YOU CAN SEE EACH CANVAS IS DISTINCT AND DIFFERENT FROM ANOTHER.

IF YOU LOOK CLOSELY 'AT AUTUMN RHYTHM,' TO THE RIGHT OF SEPTEMBER AND TOWARD THE BOTTOM AS WE SEE IT ON THE WALL, THERE'S A LITTLE FLICK OF RED PAINT.

A LITTLE DEVELOP OF RED PAINT.

ONCE YOU SEE IT, YOU CAN'T UNSEE IT BECAUSE IT SEEMS SO ANOMALOUS.

ONE WONDERFUL THING ABOUT POLLACK'S TECHNIQUE IS THIS EMBRACE OF ACCIDENT AND EMBRACE OF THE EFFECTS OF CHANCE.

THE TITLE, AUTUMN RHYTHM, THE WORD, RHYTHM, TIES TO THE RHYTHM AND CADENCE THAT'S PART AND PARCEL OF HIS GESTURAL PAINTING STYLE.

THIS GREAT SENSE OF GROWTH AND EVOLUTION IN A WAY TIES TO THE CHANGE OF SEASONS AND THE EBBS AND FLOWS OF NATURE IN THE COURSE OF A YEAR.

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