Jackson Pollock, Number 1, 1949, 1949. Enamel and Metallic Paint on Canvas, 63 in. x 102 in., 160 cm x 259.1 cm; The Museum of Contemporary Art, Los Angeles.

Jackson Pollock, Number 1, 1949, 1949. Enamel and Metallic Paint on Canvas, 63 in. x 102 in., 160 cm x 259.1 cm; The Museum of Contemporary Art, Los Angeles.

A long overdue post–on December 31st, my friend Kayla and I to the Museum of Contemporary Art (MOCA) in Los Angeles. I am not particularly a “fan” of contemporary art, so knowing myself, I would have never gone to this museum by myself. So I am glad that Kayla pushed me to go to this museum. And she was right, what’s so great about contemporary art is that the artists are willing to experiment–even if sometimes it’s downright bizarre.

This Jackson Pollock piece was the first thing that caught my eye. It was placed down the middle of a corridor and could not be missed. Also, it is just enormous. There were so many ways to look at this piece–from afar for a full view or right up to it to see the thickness of the paint. And from whatever angle, it’s like a new point of view. While looking at it, I wonder what Pollock was thinking because he places his canvas on the ground and drips the paint as he walks on it. While he works on it, he never sees it the way a viewer would. 

My favorite part was the quote that came along with the piece.

“On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. This is akin to the method of the Indian sand painters of the West.”

I absolutely love it. When you see a Pollock painting, you know that he put his entire body into it.

Some other highlights of the museum. (Taken with my brother’s Canon Rebel.)

Kayla admiring some artwork.

Edward Ruscha’s Chocolate Room.

Yes, it is made out of chocolate.

Robert Moskowitz’s Cadillac/Chopsticks.

One of my favorites–very charming.

Right outside the MOCA.

J