s pure "action painting" exemplified best by the work of its most conspicuous performer and cornerstone of the New York School, Jackson Pollock. Pollock's loops, blots, splashes, and skeins of color in a painting like Convergence are flipped, dripped, or thrown onto the canvas (Laid out flat on the floor during execution),
but with much less dependence on accidental effects that the observer may suppose. Each splash, drip, or splatter is a controlled accident, the result of the artist's sensitivity -- developed through experience--to the combination of his own motion (of both hand and body) and the weight and degree of fluidity of the paint in determining the nature of its fall as he moves around the borders of [the] Canvas interweaving colors and rhythms with one another (Canaday 132).
The large size of the painting also puts it in a category wit
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