Endnotes
1. Pollock (c. 1956), in Helen A. Harrison ed., Such Desperate Joy: Imagining Jackson Pollock (New York: Thunder’s Mouth Press, 2000), p. 54. As befits a concise brochure, these notes are streamlined. After a first citation appears, the source does not repeat. Interested readers can further peruse said scholarly leads at their leisure. 2. Hall, in Dodie Kazanjian, “The Awesome Audacity of Chase Hall,” Vogue.com (July 14, 2022). 3. Pollock (1947/48), in Pepe Karmel, ed., Jackson Pollock: Interviews, Articles, and Reviews (New York: The Museum of Modern Art, 1999), p. 17.
14. For a while Hall worked for the multi- national coffee shop chain.
15. Hall, in Emma Leigh Macdonald, “Chase Hall’s Artworks Closely Consider Life’s Gray Areas,” WMag.com (March 7, 2022). 16. The coffee takes longer to dry—almost twenty-four hours—changing in the process. For this and many another helping hand at the eleventh hour, I thank Chase Hall. 17. Here Hall approaches the venerable trope of the Black trickster and his/her invisibility. See Anfam, “The Music of Invisibility,” in Norman Lewis: Pulse. A Centennial Exhibition (New York: Michael Rosenfeld Gallery, 2009). 18. True, on this score I am not altogether objective. With an extended family tree that encompasses Cockney, Irish, Jewish and African members, how could I be? 19. Roland Barthes, transl. Annette Lavers, Mythologies (London: Vintage, [1957], 1972). Another corollary here is the venerable racist association of Blacks with nature and that of their white overlords with “civilization.”
4. Note, in passing, that Pollock’s and Hall’s childhoods were alike peripatetic.
5. The Czech-British film director Karel Reisz mentioned “its attack on the jungle values” of American television. Does the phrase hint at a twist on the racist dimension to American culture? 6. On the genesis and evolution of the mark (“tache” in French), see Øystein Sjåstad, A Theory of the Tache in Nineteenth-Century Painting (London: Routledge, 2019). 7. For Clyfford Still’s manifold fields and deep engagement with Van Gogh, see David Anfam, “Still’s Journey,” in Dean Sobel and Anfam, Clyfford Still—The Artist’s Museum (New York: Skira Rizzoli, 2012), pp. 57–112. 8. Anfam, “Pollock Drawing: The Mind’s Line,” in No Limits, Just Edges: Jackson Pollock—Paintings on Paper (New York: The Solomon R. Guggenheim Foundation, 2005). 9. Hall, in Antwaun Sargent, “Troubled Waters: Meet Painter Chase Hall. On Blackness Beyond White Imagination,” SSense.com (October 6, 2020). 10. Mindful of today’s preoccupation with gender, the word was already out some years ago that Pollock was non-binary. See Steven Naifeh and Gregory White Smith, Jackson Pollock: An American Saga (New York: Harper Perennial, 1989).
20. After all, even thoroughbred horses developed from crossbreeds.
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11. Pollock: “Fuck all the God shit! Way I see it, we’re part of the one, making it whole.”
12. I choose the word carefully. Crossfire (dir. Edward Dmytryk; 1947) is a film noir that dealt daringly with anti-Semitism, i.e., racism. 13. By coincidence, I cannot help remembering my unintentionally savvy shtick when unexpectedly confronted with a billionaire’s fake Pollock: “It has a history.”
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