Who the #$&% Is Jackson Pollock?

There's this old joke about a small town exhibit of Norman Rockwell paintings where a snobbish big city critic is trashing the art at every turn.

"We know why you don't like this art". says a local.

"And why is that?" asks the critic.

"Because we don't need you to tell us if it's any good!"

And thus, this film begs the question, "Is collecting modern art about art or collecting autographs?"

This HBO documentary details the adventures of Teri Horton (Tugboat Annie of the Trailer Park and professional dumpster diver); a small town gal finding herself in possession of what might very well be an original Jackson Pollock potentially worth millions and sets out to prove its authenticity. Herein lies the rub of modern art; "If you don't know who did it, is it any good"? We watch as the painting is wagged from pompous art critics to curious aficionados, business persons and forensic specialists each with their own take and assessment of authenticity. Little of which has anything to do with the actual art on the canvas.

Here is a fascinating look at the facade of modern art and the stuffed shirts who make cowardly proclamations regarding authenticity while avoiding the content of the painting itself.

Interesting stuff whether you like modern art or not; and while Ms. Horton's rural irascibility wears mighty thin by the end of the film, there's enough fun and insight to give anyone an art lesson.

Documentary about one Teri Horton, a 73-year-old former truck driver (with a colorful and precarious past) who bought a peculiar painting one day in a California thrift shop--only to discover it might be a lost masterwork from famed artist Jackson Pollock. Horton, eager to sell the painting and get on her feet financially, is unable to convince the skeptical art world of her treasure, with naysayers far outweighing the handful of experts who find evidence the painting is indeed a Pollock (the artist left the work unsigned, though a fingerprint on the back is an exact match to the now-deceased maestro). Elements of Pollock's life are explored and intersected with Horton's own background; she tells at one point of a suicide attempt that went amusingly wrong, and her no-nonsense manner and pithy, seen-it-all demeanor are both funny and touching. Short at 74 minutes, the documentary is entertaining, perhaps minor, though a testament to the stubborn human spirit. Offered nine million dollars at one point, Horton refused to give the painting up, wanting her share of the American dream for what it is rightfully going for on the artists market. **1/2 from ****

A moderately charming documentary investigates the odd stroke of luck one old lady came across when haphazardly buying this dirt cheap painting in a thrift store which turned out to have serious potential in belonging to famed drip-artist Pollock. The main subject of this small work, a 73 year old truck-driving Teri Horton, could have been a subject unto herself. Appearing greedy and ignorant despite her likability and down-to-earth qualities, her character had such potential when squared off against the art world elite, though the promise the premise seems to be banking on hardly seems to deliver. While a few humorous scenes help flesh out this gaping cultural rift between a grandmother who wanted to use her canvased splatter as a dartboard and the pompous scholarly critics who scoff at her every thought, most of the time is dedicated to the actual process she went through in seeking some sort of vindication, no matter physical or mental in her growing obsession.

Examining the process Horton undertook to try and prove Pollock authenticity is mildly interesting, entirely moreso for painters, and still accessible enough for the layman to fully appreciate, but concentrating on this unusual circumstance negates the primary appeal Who the F%ck Is Jackson Pollack had going for it and deceives viewers into thinking it will be more culture clash then quirky research just from the title alone. Being a documentary, it is disappointing to not see more pleasantly uncomfortable humor being captured from this project given it's circumstances and marketing practically demand it.

It may severely underplay an utterly unique and inherent comedic potential, but through this woman's arduous sense of entitlement, becomes delightful enough as we witness interesting forensic details unfold to see her (us) stick it out. There remains quite a few supporting interviewees who give memorable statements and footage to clue in this specific brand of hilarity (slightly-less-then-psychotic art critic Thomas Hoving and methodical, weirdly romantic paint analyst Peter Paul Biro show personalities more freakishly agreeable then many an offbeat-styled script could accomplish). It is a shame then that these fragmented, oddball personalities could not have been documented in actual exchanges to expose and entertain with stilted awkwardness. Remains a light, though partially educational character study of this stubborn woman, and does not betray newsworthy roots in overcompensating facts for perspectives.

This documentary tells the story of Teri Horton's crusade to get her $5 garage sale find certified as a genuine Jackson Pollock painting. I found myself really enjoying her feisty, earthy spirit, and contrasting it with the attitude of the "Art" world, which has been so dismissive of her claim, because it comes from outside their commonly held standards and beliefs. The contrast between her truck drivin', swearin', fried chicken & beer, trailer park life and the rarified "art world" people she was dealing with is both striking and funny. I must confess that, along with Teri, I knew very little about Jackson Pollock. Seeing this movie has impelled me to find out more about his interesting life.

This movie is a hoot. A hilarious look at the art market but also an endearing portrait of a tough little lady, Teri Horton. Something for everyone--well, except art critics who believe that an artist´s fingerprint on the back of a canvas is no substitute for a signature! I absolutely enjoyed watching this story play out and found the pacing and perspectives to be very well planned by the director. In addition to the sheer entertainment vaiue, the film provides lots of food for more serious thought. Why do certifiably ¨genuine¨ paintings by artists essentially christened saints fetch offers of many millions of dollars, while paintings which might be by those same artists, but also might not, are considered worthless?