The intended and proper audience for this terrific book is the deeply engaged Pollock student (or acolyte). Further, the volume has no artwork or pictures at all; if you're looking for a good edition of his paintings, try the wonderful MOMA exhibition catalogue, edited by Kirk Varnedoe. What this volume offers is a rich and engaging range of Pollock statements, interviews, art reviews, criticism, analysis, and aesthetic speculation. Together with a good book of his paintings, this book would give you a sort of "Norton Critical Edition" of Pollock's work--you'd have the paintings and then this record of decades of analysis.
Now, in a few cases the lack of pictures does actually hinder one's ability to follow all of the comparisons and insights these essays offer. This is especially true in this book's generous reprint of William Rubin's seminal "Jackson Pollock and the Modern Tradition", originally serialized with copious illustrations. Nonetheless this book presents, chronologically, a tremendous overview of the 20th century's evolving reception and understanding of Pollock's art, from his own published or radio-broadcast commentary to Life magazine's ambiguous (but myth-making) "Is He the Greatest Living Painter in America?" to Clement Greenberg to psychoanalytical writings to Elizabeth Langhorne's allusive and speculative examination of a single painting, "The Moon Woman Cuts the Circle." It's a great book to just pick at, what with its variety and scope, and each page poses something for consideration or debate--to the person who really knows Pollock's work and its underpinnings well. I wish this book had included something from John Berger; what the book "Such Desperate Joy" includes from him is really provocative and efficient. But I suppose that's a petty criticism in light of what this book does assemble, making availiable in one place all of this critical investigation into one of the 20th century's great artists.