Pollock-Krasner Foundation

Opening October 4, 2026 at @metmuseum : "Krasner and Pollock: Past Continuous," the first major New York presentation devoted to either artist in more than 20 years. Lee Krasner and Jackson Pollock met as emerging artists in New York in 1941 and remained entwined personally, artistically, and professionally, until Pollock’s untimely death. Pollock’s life’s work had secured his legacy, while the nearly three decades that Krasner survived him marked some of the most transformative years of her career. While Pollock’s reputation historically eclipsed Krasner’s, today, both artists’ practices are rightly recognized as central to the innovations of art from the mid-20th century onwards. This exhibition traces distinct yet connected practices that would ultimately converge in the rupture known as Abstract Expressionism, a movement that valued the translation of inner feelings into dramatic visual action. Explore the full arc of these artist's careers, together, through 120 landmark paintings and rarely seen works. 🔗 Link in bio to learn more. 💫 Become a Met Member and enjoy exclusive Member Preview Days, September 29 and October 1–October 3.

Since its creation in 1985, the Pollock-Krasner Foundation has carried forward Lee Krasner’s vision, awarding over 5,200 grants to artists and organizations that directly support their work. As we continue celebrating the Foundation’s historic 40th anniversary this month, PKF is proud to share a series of videos highlighting our own work and that of our incredible artist grantees. Video by @orestionline #PollockKrasnerFoundation #LeeKrasner #JacksonPollock #NonProfit #ContemporaryArt #PKF40thAnniversary

Now on display in @LACMA ’s newly inaugurated David Geffen Galleries: five lithographs by #PKFGrantee June Wayne. Growing up in Chicago observing Lake Michigan, Wayne was fascinated from a young age by the power and unpredictability of water. In a recorded conversation with @MB_Abram from 2009, Wayne says, “Waves are such a great mystery, especially for an artist to draw. A wave has no edges.” Named by @LATimes critic @LeahOllman as one of 17 must-see works among the 3,000 on display, Wayne's “White Tidal Wave”—described as an "ode to monumental tidal energy"—is not to be missed in Los Angeles. First Image: June Wayne, Blue Tidal Wave, 1972, Los Angeles County Museum of Art, Gift of the artist, © June Wayne Estate / Licensed by VAGA, New York, NY, photo © Museum Associates/LACMA Second Image: June Wayne, Black Tidal Wave, 1973, Los Angeles County Museum of Art, Gift of the artist, © June Wayne Estate / Licensed by VAGA, New York, NY, photo © Museum Associates/LACMA #PollockKrasnerFoundation #JuneWayne #LACMA #DavidGeffen

Jackson Pollock's “Pasiphaë,” painted in 1943, has been in the permanent collection of the @MetMuseum since 1982. As William S. Lieberman, Chairman of the Twentieth Century Art Department, wrote to Lee Krasner upon receiving the painting on loan in 1981: "Pasiphaë was painted a year after Jackson first showed his work in a museum, and I'm proud to point out that it was here at the Met." Part of several mythological works Pollock made in the early 1940s, “Pasiphaë” reflects his transition from figurative Surrealism to Abstract Expressionism. Named after the Cretan mythical figure of Pasiphaë, the work draws on psychic automatism to surface human forms and figures embedded in the composition, while confronting the viewer with swirling, angular lines across the canvas—an allover effect that anticipates his later work. Jackson Pollock, “Pasiphaë,” 1943. Oil on canvas, 56 1/8 x 96 in. Purchase, Rogers, Fletcher, and Harris Brisbane Dick Funds and Joseph Pulitzer Bequest, 1982. Image courtesy The Metropolitan Museum of Art. © 2026 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York #PollockKrasnerFoundation #JacksonPollock #Pasiphae

Lee Krasner’s “Icarus,” the title of which is inspired by the Greek myth of a boy who ignores his father’s warnings and flies too close to the sun, is a vibrant, blazing mass of swirling magenta and orange. A 1988 @NewYorkTimes review by art historian Helen Harrison notes of “Icarus”: “’Icarus’ is a kind of garden in which shapes blossom and intertwine like luscious plants. The title implies not a garden, but the deadly folly of the ill-fated flyer whose wings were melted by the sun. Yet, in spite of its destructive implications, the imagery is affirmative, with exploding elements swirling in harmony toward eventual reintegration.” Lee Krasner, “Icarus,” 1964. Oil on canvas, 46 x 69 inches. Courtesy Olney Gleason. © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. #LeeKrasner #PollockKrasnerFoundation #AbstractExpressionism

#PKFGrantee @AlysonShotz ’s solo exhibition “Deep Field” is now on view @DerekEllerGallery in New York through May 30. In a new body of work, Shotz references the Hubble Deep Field photograph, which revealed thousands of previously unseen galaxies. The exhibition expands upon Shotz’s exploration of experiential, large-scale sculptures inspired by scientific phenomena—engaging space, gravity, and light. The exhibition’s titular work, “Deep Field #3,” spans 16 feet and is composed of thousands of iridescent steel discs, evoking planets, moons, suns, or even molecules, and shifting from celestial blue to deep green to magenta, depending upon the viewer’s vantage point. Be sure to experience Shotz’s work in person, where the interplay of light and movement reveal the sculpture’s full dimensionality. Alyson Shotz in her studio. Image courtesy Derek Eller Gallery. © Carin Quirke Photography Detail of "Deep Field #3," 2026. Laser cut and plated carbon steel, 84 x 192 x 6 inches. Image courtesy Derek Eller Gallery. #PollockKrasnerFoundation #AlysonShotz #DeepField #DerekEllerGallery

Happy International Jazz Day! We’re celebrating by recognizing Jackson Pollock’s deep admiration for the genre—not only in his musical tastes but as seen in his improvisational painting technique. Pictured here in his 1952 work, “Blue Poles,” explosive, passionate drips of paint echo the dynamic syncopation of jazz. The blue vertical lines anchor a canvas that is alive with yellow, reddish-orange, thin white drips, pools of cream, and splashes of black. These colors, and the way they move across the canvas, create both tension and harmony, resulting in a composition that resonates with the rhythm and spirit of jazz. Jackson Pollock, Blue Poles, 1952. National Gallery of Australia, Canberra. Purchased 1973. © Pollock-Krasner Foundation, ARS/Copyright Agency #Pollock #BluePoles #InternationalJazzDay

Together, these postcards between Lee Krasner and Jackson Pollock, written in 1943 and 1956, trace an ongoing dialogue, capturing a creative partnership and personal relationship unfolding across time and place. In 1943, Pollock shares his excitement with Krasner about his major mural commission for Peggy Guggenheim—the largest work he would ever undertake: “It’s all very exciting & see you Saturday. Love, Jackson” More than a decade later, Krasner sends a postcard to Pollock from Martinique, reflecting on her travel plans: “This is the town I’m staying in. Reached Peggy [Guggenheim] but cannot get transportation to Venice...Love, Lee.” Jackson Pollock and Lee Krasner papers, circa 1914-1984, bulk 1942-1984. Courtesy Archives of American Art, Smithsonian. #LeeKrasner #JacksonPollock #AbstractExpressionism

Artist and #PKFGrantee @BeatrizRuibal.Studio spent time at @PollockKrasnerHouse in Springs, New York, in the spring of 2025, immersing herself in the domestic spaces and studio of Lee Krasner and Jackson Pollock. During her time there, she developed a new chapter of her ongoing project “Inventory,” which reconfigures memory through the photography of decontextualized objects. Ruibal undertook both a physical and conceptual excavation of Krasner and Pollock’s spacing—opening drawers, closets, and the attic to uncover tools, garments, utensils and everyday items belonging to the artists that are rarely seen by the public. These images reveal intimate traces of Pollock and Krasner’s shared life. The Pollock-Krasner Foundation and the Pollock-Krasner House and Study Center are thrilled to share this body of work by Ruibal across a series of Instagram posts. The first installment focuses on domestic objects from Krasner and Pollock's shared environment. The palettes of both artists informed the vivid backgrounds of the photographs, each carefully chosen in dialogue with the object. First Image Caption: Beatriz Ruibal, Tennis Racket, 2025. Image courtesy the artist. Second Image Caption: Beatriz Ruibal, Telephone, 2025. Image courtesy the artist. Third Image Caption: Beatriz Ruibal, Strainer, 2025. Image courtesy the artist. Fourth Image Caption: Beatriz Ruibal, Hammer, 2025. Image courtesy the artist. Fifth Image Caption: Beatriz Ruibal, Weight, 2025. Image courtesy the artist. #PollockKrasnerFoundation #LeeKrasner #AbstractExpressionism

Lee Krasner’s “Gothic Landscape” illustrates her bold approach to large-scale abstraction, filled with emotion and inflected by forms drawn from nature. The thick vertical forms that dominate the center of the composition are often read as tree-like structures—their dense, knotted bases suggest roots embedded in the earth. Painted with vigorous, gestural brushwork, the canvas belongs to a group of monumental works that were created after Jackson Pollock’s death, reflecting her profound sense of grief. In a 1977 documentary on Krasner by art historian and critic Barbara Rose, curator Marcia Tucker reflects on these immense paintings: “[Krasner’s large paintings] show an extraordinary use of gesture. A gesture very different from that of any of the other abstract expressionists working at that time … Lee is absolutely in her element when she’s painting very large. She is at ease in that heroic or monumental dimension.” Lee Krasner, “Gothic Landscape,” 1961. Oil paint on canvas, 1768 x 2378 mm .Courtesy Olney Gleason. © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. #PollockKrasnerFoundation #LeeKrasner

Take a closer look at details from the Springs, New York studio occupied by both Jackson Pollock and Lee Krasner during different periods. A starfish, paint tubes, brushes, stacks of cans and canvases, and piles of prints form a material record of creative process and capture an intimate picture of the everyday routines of the artists. For Pollock, the Springs studio was not merely a site of production but an extension of the canvas. Pollock’s gestural and energetic practice unfolded on the ground and spilled beyond his paintings, as seen through the splatters on the floor. These markings and objects evoke the physicality of his practice, one in which boundaries between environment, body, and surface dissolve. Krasner later occupied this studio and preferred to work with her large-scale canvases tacked to the walls, likely still surrounded by some of the ephemera collected across the last decade of Pollock’s artistic production. Image Captions: Pollock-Krasner Studio photographed by Maurice Berezov, undated. Jackson Pollock and Lee Krasner papers, circa 1914-1984, bulk 1942-1984. Courtesy Archives of American Art, Smithsonian. #JacksonPollock #LeeKrasner #ArtistStudio

Pollock Prize for Creativity winner @BeiliLiu ’s immersive installation “Breathing Water: For Niagara, Thundering Waters” is currently on view at the @CastellaniArtMuseum . Part of the exhibition “Human/Nature: Envisioning the Environment,” Liu responds to the museum’s proximity to Niagara Falls by incorporating plastics collected from shorelines around the world, drawing attention to the global interconnection of waterways and the associated circulation of waste. Presented together, the objects are transformed from pollution into a compelling yet unsettling assemblage, prompting viewers to reflect on scale and impact of human consumption, and water’s dual role as a life-giving force and a conduit for environmental consequence. Go see Liu’s installation in Lewison, New York through January 23, 2027. Image caption: Beili Liu, (detail) Breathing Water: For Niagara, Thundering Waters, 2026, ocean, river, and lake plastics (collected from the shorelines of the Arctic Ocean, the Barents Sea, the Norwegian Sea, the North Pacific Ocean, the North Atlantic Ocean, the Baltic Sea, the North Sea, the Adriatic Sea, the Mediterranean Sea, the Gulf of Mexico, the Niagara River, and Lake Ontario), thread, mixed media, hardware, dimensions variable. Photos courtesy of the artist and the Castellani Art Museum #BeiliLiu #CastellaniArtMuseum #HumanNatureEnvisioningtheEnvironment