Pollock’s Paradigm is the name given to a large collection of drip-pour masterworks attributed to Jackson Pollock. This collection was acquired beginning in 1955 from a girlfriend of Jackson Pollock named Helen. She had been in possession of the paintings at the time of Pollock’s untimely fatal car crash on August 11, 1956.

In 1978, a Los Angeles gallery owner bought a group of paintings from this same Collection and source. Subsequently, this same individual, with the knowledge and facilitation of Board Members of the Pollock Krasner Foundation, sold a number of those same paintings as authentic, original Jackson Pollock drip/pour paintings.

Gabor Nemeth (nemethartcenter.org) has been the target of lies, defamation and character assassination for decades, including claims that he painted the drip/pour paintings of the Pollock’s Paradigm Collection. In 2012, Mr. Nemeth was interviewed by the FBI twice and specifically asked the question “Did you paint these drip/pour paintings?” His answer was “No, I did not. I have had the same story for more than 40 years. I acquired them from an associate who knew a girlfriend of Pollock named Helen. She was in possession of these paintings when Jackson Pollock died in the car crash on August 11, 1956.” (NOT RUTH KLIGMAN, as was erroneously stated in an article by a Western Colorado University program director, citing incorrect facts from a Los Angeles Times article which erroneously stated that Ruth Kligman was the girlfriend who had these paintings at the time of the car crash. It has always been a woman named Helen. This same author committed defamation, slander, libel, and character assassination of Mr. Nemeth through dubious associations and incorrect facts in his article, and will be the target of legal action by Mr. Nemeth’s heirs.)

After interviewing him twice, the FBI determined that Mr. Nemeth did not paint the drip/pour paintings of the Pollock’s Paradigm Collection.

Additionally, our research has turned up evidence of an inventory document in Pollock’s own handwriting that denotes these paintings and others that have been ignored or suppressed by individuals in the past who have controlled the Pollock market and legacy.