Question: What year was Pollock's last painting shown in the US?
About the article "Jackson Pollock", section "At auction".

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The Stone Roses' song "Going Down", B-side of "Made of Stone", makes a comic reference to the painting: "Passion looks like a painting, Jackson Pollock's No.
5".
The record's cover was a painting by guitarist John Squire in a style similar to that of Jackson Pollock. 
Art market.
At auction.
In 1973, Blue Poles "(Blue Poles: Number 11, 1952)," was purchased by the Australian Whitlam Government for the National Gallery of Australia for US $2 million (A$1.3 million at the time of payment).
At the time, this was the highest price ever paid for a modern painting.
The painting is now one of the most popular exhibits in the gallery.
It was a centerpiece of the Museum of Modern Art's 1998 retrospective in New York, the first time the painting had been shown in America since its purchase.
In November 2006, Pollock's "No.
5, 1948" became the world's most expensive painting, when it was sold privately to an undisclosed buyer for the sum of $140,000,000.
Another artist record was established in 2004, when "No.
12" (1949), a medium-sized drip painting that had been shown in the United States Pavilion at the 1950 Venice Biennale, fetched $11.7 million at Christie's, New York.
In 2012, "Number 28, 1951," one of the artist’s combinations of drip and brushwork in shades of silvery gray with red, yellow and shots of blue and white, also sold at Christie's, New York, for $20.5 million—$23 million with fees—within its estimated range of $20 million to $30 million.
In 2013 Pollock's "Number 19" (1948) was sold by Christies for a reported $58,363,750 during an auction that ultimately reached $495 million total sales in one night which Christies reports as a record to date as the most expensive auction of contemporary art.
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. 
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. 
Pollock's work has been the subject of important critical debates.
The critic Robert Coates once derided a number of Pollock’s works as “mere unorganized explosions of random energy, and therefore meaningless.” In a famous 1952 article in "ARTnews", Harold Rosenberg coined the term "action painting," and wrote that "what was to go on the canvas was not a picture but an event.
The big moment came when it was decided to paint 'just to paint.'
The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral."
Many people assumed that he had modeled his "action painter" paradigm on Pollock.
Clement Greenberg supported Pollock's work on formalistic grounds.
It fit well with Greenberg's view of art history as a progressive purification in form and elimination of historical content.
He considered Pollock's work to be the best painting of its day and the culmination of the Western tradition via Cubism and Cézanne to Manet.
"Reynold's News" in a 1959 headline said, "This is not art—it's a joke in bad taste.
"The Congress for Cultural Freedom, an organization to promote American culture and values, backed by the CIA, sponsored exhibitions of Pollock's work.
Certain left-wing scholars, most prominently Eva Cockcroft, have argued that the U.S. government and wealthy elite embraced Pollock and abstract expressionism in order to place the United States in the forefront of global art and devalue socialist realism.
Cockcroft wrote that Pollock became a "weapon of the Cold War".