I just received an original copy of Life Magazine from August 8th, 1949 featuring Jackson Pollock in the article “Is he the greatest living painter in the United States?”  Happy days!




The lonely path tunneled
through the daily routine
and expectations.

The tunnel became your
gateway and hiding place,
a retreat when life
became too real, a distraction.

Did you ever see the
colors of the sunset?

Or even then was
the winter sun awash of colors,
a gray scale landscape
pushing you inward?

The lonely path tunneled
through the daily routine
and expectations.

The tunnel was your
gateway and hiding place,
a retreat when life
became too real, a

Did ever see the colors
of the sunset as they
appeared over the black
waters in the city?

I imagine you looking
at nothing in particular
on the outside, but in that
chaotic mind of energy,
you picked up each thread
of light, each string,
turned it over and examined
each particle and throw
it at the canvas at your feet.

The Fall 2014 issue of Stone Path Review is now available for reading at http://www.stonepathreview.com and http://www.magcloud.com/browse/issue/823370?__r=322616

Interview with: Peter Vircks
Poetry by: Amanda Barusch, Anuja Ghimire, Deonte Osayande, Gary Glauber, Lisa Megraw, Ralph Monday, Robert Henschel, Jr., Rochelle Natt, Salvatore Folisi, Samantha Tetangco, Wendy Brown-Baez
Short Story by: John Richmond
Paintings by: Margaret Karmazin
Photography by: Kristy Johnson, Louis Staeble, Rohnda Monroy
Photography for written pieces by: Twisted Root Studios

Stone Path Review Fall 2014

Stone Path Review: Stone Path Review Fall 2014

Issue twelve of the artistic journal Stone Path Review featuring an interview with a musician, poetry, short story, paintings, and images of people and nature. The focus is what we harvest and what we become.

Find out more on MagCloud

I imagine one of his photos would look like this:

Jackson Pollock Photography
Jackson Pollock Photography

I am reposting this with additional information from Culture.pl, the online magazine promoting Polish Culture abroad, run by the Adam Mickiewicz Institute and funded by the Ministry of Culture and National Heritage of Poland. They have a more complete bio and information about Polish artist Zdzisław Beksiński.

Please visit their website and learn more about Polish culture and the arts.





A two-story white house
one window blue-framed
large oak tree in the
manicured yard, planter
with purple flowers
sways in the gentle breeze.

Every hour or so
the front door opens
and a man holding a
coffee cup emerges –
cigarette lit,
he watches traffic
on 7th street.

From this distance
across 7th street,
sipping my own coffee,
I ponder the image he
is painting, mixing
in the colors surrounding the house
and the paint upon his shoes.

Absent of light
the canvas becomes black –
in the blackness there is
not nothing – there is
everything we choose to show,
to expose, to translate from the
memories and images into
a masterpiece – who can judge art
when colors, shapes, lines, splatters,
and disconnected images are the hands
interpretation of the mind’s chaos?

Black Canvas
Black Canvas

At long last, I have been in the presence of an actual Jackson Pollock painting. In Denver, CO, I was surprised by Patricia with an exhibit titled “Modern Masters” at the Denver Art Museum. I did not know there was one on display, and my attempts to find out more form her were cleverly thwarted.

We received our tickets and headed to the entrance. Before getting to the special exhibit, there was three paintings from the American West by Thomas Hart Benton. Knowing that Jackson Pollock studied under Benton, I said to Patricia “How can you have Bentons’ but no Pollocks’ on display”? A little further on, my question was answered when a black and white photo of Jackson in his studio was on the wall. I knew then a dream of mine had finally come true.

To appreciate Pollock’s most famous pieces, you should see it in person as they are large and require a wall to themselves. Convergence measures 93.5 inches in height and 155 inches in width, one of the largest he painted, and is a massive display of lines, colors, shapes, and emotions. I had to sit for 20 minutes to take it all in and see the many layers, time that passed, and the universe that began to emerge. In some parts, I saw a galaxy or nebulae staring back at me. Overwhelmed is the only word to describe how I felt inside. The emotion and intensity of this washed over me. It was a privilege to sit before this and imagine his large hands holding cans of paint and brush, throwing and dripping colors as he worked his way around the canvas, giving us a glimpse of the universe in his mind.

Jackson Pollock, Convergence
Jackson Pollock, Convergence


Jackson Pollock (American, 1912-1956) opted for an early exit from high school in California to study with Thomas Hart Benton at the Art Students League of New York. After gleaning what appealed to him from the Regionalists, Mexican muralists, and Surrealists, Pollock worked for the Federal Art Project from 1938 to 1942. By the mid-1940s Pollock was painting in a wholly abstract manner, and in 1947 he arrived at the drip and splash style with which he is most often associated. Affixing canvases to a wall, the floor, or the ground if painting outdoors, Pollock dripped and poured commercial house paint from cans and arranged it using sticks, trowels, or knives, sometimes augmenting it with sand, broken glass, or foreign matter, as Pollock stated it. He placed great import on being able to walk around such paintings and work on them from all four sides. Such action painting, opined artists and critics, expressed or revealed the unconscious moods of the artist. Pollock’s drip paintings, as Willem de Kooning said, broke the ice for the Abstract Expressionists who followed Pollock.