Question: Why did Pollock not name his paintings?
About the article "Jackson Pollock", section "From naming to numbering".

Candidate passages:
In 1955, Pollock painted "Scent" and "Search," his last two paintings.
He did not paint at all in 1956, but was making sculptures at Tony Smith’s home: constructions of wire, gauze, and plaster.
Shaped by sand-casting, they have heavily textured surfaces similar to what Pollock often created in his paintings.
On August 11, 1956, at 10:15 pm, Pollock died in a single-car crash in his Oldsmobile convertible while driving under the influence of alcohol.
One of the passengers, Edith Metzger, was also killed in the accident, which occurred less than a mile from Pollock's home.
The other passenger, Ruth Kligman, an artist and Pollock's mistress, survived.
For the rest of her life, his widow Lee Krasner managed his estate and ensured that Pollock's reputation remained strong despite changing art-world trends.
The couple are buried in Green River Cemetery in Springs with a large boulder marking his grave and a smaller one marking hers. 
In 1960, Ornette Coleman's album "" featured a Pollock painting as its cover artwork.
The British indie band The Stone Roses were heavily influenced by Pollock; they have cover artwork made of pastiches of his work.
In the early 1990s, three groups of movie makers were developing Pollock biographical projects, each based on a different source.
The project that at first seemed most advanced was a joint venture between Barbra Streisand's Barwood Films and Robert De Niro's TriBeCa Productions (De Niro's parents were friends of Krasner and Pollock).
The script, by Christopher Cleveland, was to be based on Jeffrey Potter's 1985 oral biography, "To a Violent Grave," a collection of reminiscences by Pollock's friends.
Streisand was to play the role of Lee Krasner, and De Niro was to portray Pollock.
A second was to be based on "Love Affair" (1974), a memoir by Ruth Kligman, who was Pollock's lover in the six months before his death.
This was to be directed by Harold Becker, with Al Pacino playing Pollock.
In 2000, the biographical film "Pollock", based on the Pulitzer Prize-winning biography, "Jackson Pollock: An American Saga", was released.
Marcia Gay Harden won the Academy Award for Best Supporting Actress for her portrayal of Lee Krasner.
The movie was the project of Ed Harris, who portrayed Pollock and directed it.
He was nominated for the Academy Award for Best Actor.
The Pollock-Krasner Foundation did not authorize or collaborate with any production.
In September 2009, the art historian Henry Adams claimed in "Smithsonian Magazine" that Pollock had written his name in his famous painting "Mural" (1943).
The painting is now insured for $140 million.
In 2011, the Republican Iowa State Representative Scott Raecker introduced a bill to force the sale of the artwork, held by The University of Iowa, in order to fund scholarships, but his bill created such controversy that it was quickly withdrawn. 
During the 1970s, Pollock did not see success with new designs until Jerry Helling, head of Bernhardt Design, tracked him down and asked him to design furniture for his firm.
Pollock designed the CP lounge chair, a contoured chair which won critical praise. 
  The visionary Swiss painter Peter Birkhäuser was treated by a student of Jung, Marie-Louise von Franz, and corresponded with Jung regarding the translation of dream symbolism into works of art.
American Abstract Expressionist Jackson Pollock underwent Jungian psychotherapy in 1939 with Dr Joseph Henderson.
His therapist made the decision to engage him through his art, and had Pollock make drawings, which led to the appearance of many Jungian concepts in his paintings.
Contrary to some sources, Jung did not visit Liverpool but recorded a dream in which he had, and of which he wrote "Liverpool is the pool of life, it makes to live."
As a result a statue of Jung was erected in Mathew Street in 1987 but, being made of plaster, was vandalised and replaced by a more durable version in 1993.  
Hans Namuth was not initially interested in the work of Jackson Pollock, but was convinced by his teacher Alexey Brodovitch that Pollock was an important painter.
In July 1950, Namuth approached Pollock and asked to photograph the artist working in his studio.
Pollock agreed, encouraged by his wife, Lee Krasner, who was aware of the importance of media coverage.
The resulting images helped to demystify Pollock's famous "drip" technique of painting, revealing it to be a deliberative process rather than a random splashing of paint.
They "helped transform Pollock from a talented, cranky loner into the first media-driven superstar of American contemporary art, the jeans-clad, chain-smoking poster boy of abstract expressionism," according to acclaimed culture critic Ferdinand Protzman.
Not satisfied with black and white stills, Namuth wanted to create a color film that managed to focus on Pollock and his painting at the same time, partially because he found more interest in Pollock's image than in his art.
His solution was to have Pollock paint on a large sheet of glass as Namuth filmed from underneath the work.
As Namuth could not afford professional lighting, the film was shot outside Pollock's Long Island home.
This documentary (co-produced with Paul Falkenberg) is considered one of the most influential for artists.
In November 1950, Namuth and Pollock's relationship came to an abrupt conclusion.
After coming in from the cold-weather shoot of the glass painting, Pollock, who had been treated in the 1930s for alcoholism, poured himself a tumbler of bourbon whiskey after supposedly having been sober for two years.
An argument between Namuth and Pollock ensued with each calling the other a "phony", culminating in Pollock overturning a table of food and dinnerware in front of several guests.
From then on, Pollock reverted to a more figure-oriented style of painting, leading some to say that Namuth's sessions robbed Pollock of his rawness and made Pollock come to feel disingenuous about doing things for the camera that he had originally done spontaneously.
Art critic Jonathan Jones suggests that by filming Pollock, Namuth "broke the myth of trance" and by framing Pollock's work in the larger surrounding landscape, destroyed Pollock's view that his paintings were boundless.
Jeffrey Potter, a close friend of Pollock's, described Namuth as commanding, frequently telling Pollock when to start and stop painting.
According to Potter, Pollock "felt what was happening was phony."
Namuth himself describes Pollock as being "very nervous and very self-conscious" of the filming at the time, but less so when Pollock discussed it in a later interview.
During his time with Pollock, Hans Namuth had created two films and captured more than 500 photographs of the artist.
These photos were first published in 1951 in "Portfolio", a journal edited by Alexey Brodovitch and Franz Zachary.
After the death of Pollock in 1956, Namuth's photos grew in popularity and were often used in articles about the painter in place of Pollock's artwork itself.
Art historian Barbara Rose states that the photographs changed art by focusing on the creation of art rather than the final product alone.
Younger artists such as Bruce Nauman, Richard Serra, and Robert Morris were able not only to view Pollock's paintings, but, with Namuth's images, to see Pollock in the act of painting, giving rise to the popularity of Process Art.
These photos have also allowed art historians to dissect the details of Pollock's method.
For example, art historian Pepe Karmel found that Pollock's painting in Namuth's first black-and-white film began with several careful drippings forming two humanoid figures and a wolf before being covered beneath several layers of paint.