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UO study questions paintingsâ authenticityhttp://www.oregonlive.com/news/oregonian/index.ssf?/base/news/1139455529308930.xml&coll=7Fractals and art: In the hands of a masterhttp://www.nature.com/news/2006/060206/full/439648a.htmlJackson Pollockhttp://www.nga.gov/feature/pollock/pollockhome.htmlRichard Taylor: Further Information [pdf]http://materialscience.uoregon.edu/taylor/art/info.htmlUnpopular Front: American Art and the Cold Warhttp://www.newyorker.com/critics/content/articles/051017crat_atlargeRobert Hughes, the venerable art critic for Time magazine, stated in 1982 âIt is impossible to make a forgery of Jackson Pollockâs workâ. It is certainly true that the physicality of his paintings, along with Pollockâs famed âpourâ technique was forward-looking for its time. Given this information, it is not surprising that previously unknown works by Pollock that materialize draw close scrutiny from art historians, and increasingly, scientists. This week, the New York Times reported that Professor Richard Taylor of the University of Oregon had utilized fractal geometry to examine 14 of Pollockâs painting to help determine, and perhaps put into question, the authenticity of a cache of paintings found in 2003 in Wainscott, New York. This cache of paintings was discovered by Alex Matter, whose parents were friends with Pollock. Currently, Matter is planning a large exhibition of these newly discovered works, and this growing controversy has been closely followed among those in the art world. Dr. Taylor has remarked that his examination of the works has revealed âsignificant differencesâ between the patterns of these newer works and those of known Pollock works. He also mentioned that âThatâs either due to one person who is extremely varied, or itâs due to a number of different artists.âThe first link will take visitors to a piece from this Thursdayâs New York Times, which discusses the recent computer analysis of the paintings. The second link will whisk visitors away to a fine article by The Oregonianâs Richard L. Hill that discusses Dr. Taylorâs findings and the rising tide of controversy surrounding these works. The third link will lead users to an intriguing piece from the magazine, Nature, which explores the science behind Dr. Taylorâs investigations and Pollockâs idiosyncratic style and manner. The fourth link leads to a National Gallery of Art web exhibition on Pollock and his work that begins with a rather intense photograph of Pollock holding a cigarette to his forehead. The fifth link leads to Dr. Taylorâs homepage at the University of Oregon, where users may read some of his compelling articles and other writings on his analyses of Pollockâs work through the use of fractal geometry. The sixth and final link leads to a piece by Louis Menand, writing in The New Yorker on the subject of American art and its function and ideology during the Cold War.
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