<論文>ジャクソン・ポロックの作品の装飾的受容

Abstract

This paper aims to examine Jackson Pollock's Works accepted as decoration. Pollock's allover paintings are used as elements to decorate spaces. For example, they were used as wall paintings to decorate houses, as a window decoration for a church building, and as a background for models of a fashion magazine. There are many studies on these individual examples. However, no studies examined these examples uniformly from the viewpoint of acceptance as decoration. In first section of this paper, we examine Pollock's first mural painting to decorate Peggy Guggenheim's house in 1943. This work has important characteristics which are related to all-over paintings. Examining this mural will become clear how the characteristics of all-over paintings were acquired. Furthermore, I focus on the relationship between Pollock and architect Peter Blake. We will verify that Pollock's works were treated as decoration by Blake. In second Section, we will discuss a church building plan that Pollock was supposed to decorate windows. However, art historians and critics have denied that Pollock's works were regarded as decoration. We will examine how they deny decorative characteristics of all-over paintings. In third section, we discuss photographs which represent Pollock's works as parts of the interior decoration. In addition, we will verify that Allan Kaprow regards these photographs as important and take their feature into his works. Through the above, this paper clarifies that Pollock's works were accepted as decoration, and such examples influenced later artists. These results urge to rethink modernism's idea that considers decoration as a mere visual adornment because Pollock's works aren't treated as such. Pollock's works is meaningful as a threshold to change the meaning of painting and decoration. These result contribute to consider installation arts and decorative arts prospered after Pollock.