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By the end of the '40s her own work she felt had opened and changed. In '51, her debut was held at Betty Parsons. These large-scale canvases were marked by what Pollock himself said was a "new freshness and bigness" for her. None of them are left, so who can judge? One rare work of the time, not exhibitted, is a large and bold brush drawing in black ink of two tumbling [[strikethrough]] spinning [[/strikethrough]] white forms in a blown-up black cell, as if a buried pod or seed were beginning to turn in its track. But the show was poorly received; Pollock left Parsons for the Janis Gallery and Parsons, not quite specifically in reaction, let Krasner go.

It was the following year that Krasner's old friend and by then the well-known art critic Harold Rosenberg wrote an article on The American Action Painters  that [[strikethrough]] turned out to [[/strikethrough]] delivered the complete summing-up of the movement's ethos and psycho-esthetic. "After a certain moment, he pointed out, these artists, each in his own way, had decided to abandon conventional art-making to take to the canvas "as an arena in which to act." The gesture on the canvas had been one of liberation from [[strikethrough]] from value and tradition [[/strikethrough]] traditional standared of value, political, esthetic and moral.

The American vanguard painter took to the white expanse of the canvas as Melville's Ishmael took to the sea.

He claimed for the new art a content deep and personal, yet universal as the human module itself.

A painting that is an act is inseparable from the biography of the artist. Anything is relevant to it. Anything that has to do with action--psychology, philosophy, history, mythology, hero worship. The year after that, Krasner herself took to the material of an unachieved past, one might say, as Ishmael took to the sea. She took those old canvases, cut and pasted them together with fragments of