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Primarily in New York in the early 1940’s, a group of artists developed a stylistic diverse collection of art that began a drastic new development in the artistic realm that guided/shifted the perception of art across the globe. Abstract expressionism broke away from the conventional thought in both subject matter and technique, changing the focus to a more inner spiritual expression of impulsiveness and improvisation; the work of abstract expressionist resisted the stylistic labeling that was commonly based upon dynamic movement in contrast to reflection with an open palette of color. Imagination and artistic creativity was the overall basis of abstract expressionism. Even when depicting realistic subject matter the artist utilized extremely spirited, messy brush stokes or no brushes at all, simply dripping/flinging paint onto the canvas with overlapping inspirational sources. Critics of this era did not viewed or even consider abstract expressionism as art, which is similar to every new artistic form that emerged before them. Many of the initial artists of this movement lived in New York and met in a tavern located in Greenwich Village, thus, the movement was also given the name The New York School. One of the most notorious members of this group was Jackson Pollock, who became so well known for his dip and splatter form that many gave him the nickname “Jack the Dripper;” Pollock utilized drips and lines to stimulate emotion versus portraying distinctive subject matter. (Gersh-Nesic, 2014) Pollock would place his excessively large canvas on the ground, dripping and pouring thinned-out paint across the surface compared to the traditional style of utilizing actual brushes. Pollock exploited the use of large canvas, which he incorporated into small viewing areas so that the painting engulfed the viewer bringing forth an overwhelming personal experience. In

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