Top 55 Pollock Quotes & Sayings

I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.

The significant element that is common to Rivera, Siqueros, Picasso, Pollock, Van Gogh and Frida Kahlo is the expression of pain.

As was the case in Requiem for a Dream, Pollock, A Beautiful Mind, House of Sand and Fog, The Hulk and Dark Water, Connelly's mere presence in a film guarantees that things will turn out badly for the male lead, as Connelly is always cast as the Angel of Death. Fun to hang out with, great eyes, amazing eyebrows, but the Angel of Death.

Pollock said several times that he couldn't separate himself from his art. Not knowing much about modern art when I began to read about him, I was much more his persona - his struggles as a human being - that was interesting to me.

It can be a work by Mondrian, a piece of music by Schönberg or Mozart, a painting by Leonardo, Barnett Newman or also Jackson Pollock. That's beautiful to me. But also nature. A person can be beautiful as well. And beauty is also defined as 'untouched'. Indeed, that's an ideal: that we humans are untouched and therefore beautiful.

Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.

Jackson Pollock said once, "I don't really feel that many people in this world are alive." He said, "That's why I like you, Tom. You're alive."

It would have been the equivalent of Jackson Pollock's attempts to copy the Sistine Chapel.

After I won the Oscar for 'Pollock,' some newspaper printed, 'She should get a million-dollar bump.' My sisters would write me, 'You're gonna get this million-dollar bump!'

Shaun Pollock is actually the best role model for me as a very good attritional bowler.

Before they did all those shows on Jackson Pollock, I loved the way he formulated his paintings. I loved Basquiat - I was into the whole Beat generation, Kerouac, etc., and all those artists talked about that and Kerouac, so I just got in the middle of being spontaneous.

Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.

Pollock was terrific. I think he freed himself of all kinds of worry about this world. Ran around and dripped, and then he managed to express ecstasy.

Allan Donald and Shaun Pollock were my heroes, so I thought averaging 22 or 23 and taking five-wicket hauls was normal.

I love Francis Bacon. I just saw a great Jackson Pollock exhibit at the Dallas Museum when I was home for Thanksgiving.

And that Newman wasn't, and yet to me Pollock is just as radical and unlike Expressionism as Newman.

Far from being dominated by ideas from Paris and New York, Latin American artists were often the innovators. They were doing drip paintings in advance of Pollock, creating language art before the American conceptualists, and fashioning shaped canvases decades before Kelly or Stella.

I came down successfully through Picasso and Braque, down through Pollock, I guess, but I began to stop at Franz Kline and the Abstractionists. I like their design, brilliant design, marvelous color layers. But I don't find any human content there. I'm from an old school, and painting has to have human content for me.

We're not clever enough to picture something and say, "Our music is going to be Jackson Pollock meets Oprah Winfrey" and then go about achieving that. I was in a band called Olive Loaf - it was the first thing I ever did when I first started playing the guitar when I was 12, and it was sort of like Ween, although I didn't know Ween even existed at the time.

I think there's a real problem if you're making a film - some people have done whether it be about Jackson Pollock or about Picasso - it's difficult for actors, because they have to impersonate a person whose image is very strong in our memories or in our consciousness. It's something that's very tricky, I think.

We're from Athens, GA.; we're big Bulldog fans, and I remember watching A. J. Green, David Pollock, David Greene. We were big Cowboys and Falcons fans.

In the past 10 years, I've looked at life as this Pollock stuff. And now I'm almost in the post Pollock phase.

I'm interested in Jackson Pollock's kind of art, where art is beautiful, but it's nothing, and yet it's incredible.

Clem had made it known that Pollock was a great painter.

I have that huge print from Pollock by the piano because the influence is reciprocal. He was into hearing music while he created, and I sometimes do the opposite. I'm influenced by everything from an ant to a dream.

Chaos can be structured as non-chaos. That we know from Jackson Pollock.

It's impossible in our postmodern era for anyone to be original - for anybody to do what Jackson Pollock did.

I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.

If the choice is between buying another building or a Pollock, I'd go for the Pollock every time.

Pollock was well known, certainly, but for all the wrong reasons. He was known as much for being wild and unconventional in his working methods as for being a great artist.

I wanted my work to be seen for free in a public space, I want to be up there with Pollock and de Kooning, one of the big boys.

In response to the question, 'How do you know when you're finished?' Pollock replied, 'How do you know when you're finished making love?

I don't need to own one but I like to look at Diane Arbus's pictures and anything by Jackson Pollock.

To handle paint the way Pollock did, you need the muscularity of a ballet dancer.

I know the Pollock novel. Read it last year and liked it. Daniel Woodrell is awesome. I especially like the book Winter's Bone, and the film made from it. Larry Brown is terrific, all his work, but for me Joe in particular, also a good film, but a much better novel.

In the late 30s the name Pollock was totally unknown and unheard of.

Somebody can paint with a fine brush like Monet and do millions of little dots or somebody can splatter it up there like Kandinsky or Jackson Pollock and go "Yep, that's art." That's okay.

Who among us has not gazed thoughtfully and patiently at a painting of Jackson Pollock and thought "What a piece of crap?"

I can be inspired by anything. It can be from an artist, I love Georgia O'Keefe, de Kooning, Jackson Pollock, Lichtenstein, Koons- I love them all. I can be inspired by an artist, a dream, something that I pass by, I was even inspired by a commercial! A commercial of whale war- I was so sad that people were killing whales to extinction, so I made a painting of that. So I can really be inspired by a lot of things.

The big shock of my life was Abstract Expressionism - Pollock, de Kooning, those guys. It changed my work. I was an academically trained student, and suddenly you could pour paint, smear it on, broom it on!

I'm a postmodern commentator, and so, in a cheeky parallel to James Joyce or James Kelman, I get to places, verbally, that are a little unusual - when I talk about Jocky Wilson and end up sounding like a Jackson Pollock of the commentary box.

I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.

Pollock looks unusual and radical even now.

Part of the strength of Pollock and Rothko's art, in fact, is this doubt as to whether art may be there at all.

I've had a period of drawing on canvas in black - with some of my early images coming thru -, think the non-objectivists will find them disturbing - and the kids who think it simple to splash a 'Pollock' out.

The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.

I quite like Jackson Pollock, and have a real gut reaction to it, so it does whatever it does to me.

If you see 'Pollock,' I weighed almost 270 pounds.

The moment of creative impulse is what an artist gives you. You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.

Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.

Pollock also... wanted one to be wrapped in the painting.

Unfortunately, there was no Jackson Pollock of the camera.

Pollock really invented something. No one painted like him - or de Kooning or Still.

Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.

I'm inspired by Jackson Pollock; splashing layer upon layer, using different materials, experimenting with new methods to produce something fresh. I'd love to be able to create in this way!