I n a crowded field, the story often told of post-war abstract painting is arguably the most crudely reductive in art history.The contemporary American painter Amy Sillman expressed it best when she described it in Artforum magazine as bad politics steel-welded around a chassis of machismo, where the paint stroke is equivalent to a phallic spurt, to [Jackson] Pollock whipping out his dick and pissing in [art dealer] Peggy Guggenheim's fireplace.
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