TL;DR
Get art and craft supplies delivered free — and shop member deals
- Fast, free delivery on millions of items
- Access to Prime Big Deal Days deals on October 6–7
- Prime Video, Amazon Music and more included
The Metropolitan Museum of Art’s exhibition “Krasner and Pollock: Past Continuous” presents works by Lee Krasner and Jackson Pollock alongside material tied to their life together. A Hyperallergic review describes the show’s installation as striking and reads its focus on their marriage as a way to reconsider Krasner’s work and survival beyond Pollock’s fame.
The Metropolitan Museum of Art is presenting “Krasner and Pollock: Past Continuous,” an exhibition that brings together art and material connected to Lee Krasner and Jackson Pollock’s relationship. In a review for Hyperallergic, Valentina Di Liscia describes the installation as unusually thoughtful and says the show’s arrangement invites viewers to look beyond Pollock’s prominence toward Krasner’s art and experience.
The exhibition is installed in mostly windowless galleries in a less accessible area of the Met’s second floor, according to Di Liscia. A narrow entrance corridor features a silent video combining collaged film and photographs of the artists’ Long Island cottage before visitors enter the galleries containing the artworks. The review identifies the installation as a central part of the experience, rather than a neutral backdrop.
Works identified in the source include Krasner’s “Re-Echo” (1957) and “Combat” (1965), both oil paintings. Di Liscia writes that the exhibition encourages attention to the scale and variety of Krasner’s work, including paintings that are intricate, small, large or brash. The source does not provide a full checklist, visitor figures, or detailed information about loans and curatorial decisions.
The review also addresses the artists’ marriage and Pollock’s death. It states that Pollock died after crashing his car while driving under the influence on August 11, 1956; passenger Edith Metzger also died, while Krasner was not in the car. Di Liscia treats this history as part of the lens through which visitors may encounter Krasner’s work, while cautioning that outsiders cannot claim complete knowledge of a relationship.
Krasner Beyond Pollock’s Fame
The show’s subject carries a risk familiar to exhibitions about artists who were partners: the relationship can draw attention while the woman’s work becomes secondary. Di Liscia’s review suggests the Met’s presentation turns that tension into part of the viewing experience. Visitors may arrive curious about the couple’s private life, but the paintings give them a way to consider Krasner as an artist in her own right, not simply as Pollock’s wife or survivor.
That emphasis matters because the source describes Pollock as briefly the most famous artist in America and places his death within the story surrounding the exhibition. Against that public reputation, Krasner’s paintings offer a direct encounter with her artistic choices. The review’s interpretation is not a claim that the show resolves how the marriage shaped her work; it argues that the art and the personal history are presented together, without making the relationship easy to explain.
For museumgoers, the installation also shapes how they meet the work: the cottage imagery sets a personal frame before the paintings appear. Di Liscia praises the design while noting that the exhibition’s subtext is apparent. That combination—polished presentation and an openly charged subject—makes the show relevant to wider questions about gender, artistic recognition and the stories museums tell.
As an affiliate, we earn on qualifying purchases.
A Marriage in the Exhibition
Krasner and Pollock were both artists, and their shared life has often been discussed alongside Pollock’s better-known public profile. The supplied review places their relationship within the exhibition rather than treating it as incidental background. It notes that Pollock died in a car crash in 1956 and that Krasner’s life and subsequent art invite questions that cannot be answered by a simple account of the marriage.
The exhibition title, “Past Continuous,” points toward memory and an ongoing relationship with the past, although Di Liscia says the show’s practical draw is also clear: visitors are interested in the artists’ marriage and in how Krasner made her work. The review describes a visitor’s remark about Krasner’s appearance, which Di Liscia reads as evidence of misogyny in the gallery. That anecdote is the reviewer’s account of one encounter, not evidence about visitors generally.
As an affiliate, we earn on qualifying purchases.
What the Review Cannot Establish
The supplied material is a single exhibition review, not a full catalogue or independent report on the Met’s curatorial process. It does not state the show’s opening or closing dates, list every artwork, identify the exhibition’s curators, or explain how works were selected. It also does not establish how the Met intends audiences to interpret the relationship between the paintings and the couple’s history.
Di Liscia’s comments about the exhibition’s subtext, design and audience are her critical interpretation. The reported remark from a visitor is one anecdote and cannot establish how common such attitudes are among museumgoers. The source also does not offer new evidence about Krasner and Pollock’s private relationship or claim that the exhibition settles questions about its effect on her art.
As an affiliate, we earn on qualifying purchases.
Visitors Encounter the Paintings
The immediate next step is for audiences to see the exhibition and assess how its installation, historical material and paintings work together. The supplied source gives no schedule for related programming, later reviews, or changes to the display, so those developments cannot be reported here. Readers seeking practical details, including current dates and access information, should consult the Met’s official exhibition listing.
As an affiliate, we earn on qualifying purchases.
Key Questions
What is “Krasner and Pollock: Past Continuous”?
It is a Metropolitan Museum of Art exhibition presenting work and historical material connected to Lee Krasner and Jackson Pollock. The supplied review describes a video-led entrance and galleries containing paintings by the artists.
Which Krasner paintings are named in the review?
The source identifies Krasner’s oil paintings “Re-Echo” (1957) and “Combat” (1965). It does not provide a complete exhibition checklist.
How does the show address Krasner and Pollock’s marriage?
The review says their shared history is an evident part of the exhibition’s appeal and framing. It also emphasizes that the paintings invite attention to Krasner’s artistic practice, while the relationship remains open to interpretation.
When does the exhibition close?
The supplied source does not state an opening or closing date. Check the Met’s official listing for current dates and visitor information.
Source: rss
Halloween Picks
halloween
As an affiliate, we earn on qualifying purchases.
