Question: Twenty four similar Jackson Pollock paintings were found where?
About the article "Jackson Pollock", section "Authenticity issues".

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In 2003, twenty-four Pollock-esque paintings and drawings were found in a locker in Wainscott, New York.
An inconclusive debate continues about whether or not these works are Pollock originals.
Physicists have argued over whether fractals can be used to authenticate the paintings.
This would require an analysis of geometric consistency of the paint splatters in Pollock's work at a microscopic level, and would be measured against the finding that patterns in Pollock's paintings increased in complexity with time.
Analysis of the synthetic pigments shows that some were not patented until the 1980s, and therefore that it is highly improbable that Pollock could have used such paints.
In 2006 a documentary, "Who the *$&% Is Jackson Pollock?"
was made concerning Teri Horton, a truck driver who in 1992 bought an abstract painting for five dollars at a thrift store in California.
This work may be a lost Pollock painting but its authenticity is debated.
Pollock was born in Cody, Wyoming, in 1912, the youngest of five sons.
His parents, Stella May (née McClure) and LeRoy Pollock, were born and grew up in Tingley, Iowa and were educated at Tingley High School.
Pollock's mother is interred at Tingley Cemetery, Ringgold County, Iowa.
His father had been born with the surname McCoy but took the surname of his adoptive parents, neighbors who adopted him after his own parents had died within a year of each other.
Stella and LeRoy Pollock were Presbyterian; they were of Irish and Scots-Irish descent, respectively.
LeRoy Pollock was a farmer and later a land surveyor for the government, moving for different jobs.
Jackson grew up in Arizona and Chico, California.
While living in Echo Park, California, he enrolled at Los Angeles' Manual Arts High School, from which he was expelled.
He already had been expelled in 1928 from another high school.
During his early life, Pollock explored Native American culture while on surveying trips with his father.
In 1930, following his older brother Charles Pollock, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League.
Benton's rural American subject matter had little influence on Pollock's work, but his rhythmic use of paint and his fierce independence were more lasting.
From 1938 to 1942, during the Great Depression, Pollock worked for the WPA Federal Art Project.
Trying to deal with his established alcoholism, from 1938 through 1941 Pollock underwent Jungian psychotherapy with Dr. Joseph Henderson and later with Dr. Violet Staub de Laszlo in 1941-1942.
Henderson engaged him through his art, encouraging Pollock to make drawings.
Jungian concepts and archetypes were expressed in his paintings.
Recently historians have hypothesized that Pollock might have had bipolar disorder. 
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. 
Abstract Impressionism is a type of abstract painting (not to be confused with Abstract Expressionism, a similar but different movement) where small brushstrokes build and structure large paintings.
Small brushstrokes exhibit control of large areas, expressing the artist's emotion and focus on inner energy, and sometimes contemplation, creating expressive, lyrical and thoughtful qualities in the paintings.
The brushstrokes are similar to those of Impressionists such as Monet and Post-Impressionists such as van Gogh and Seurat, only tending toward Abstract Expressionism.
While in the action painting style of Abstract Expressionism brushstrokes were often large and bold and paint was applied in a rapid outpouring of emotion and energy, the Abstract Impressionist's short and intense brushstrokes or non-traditional application of paints and textures is done slowly and with purpose, using the passage of time as an asset and a technique.
Milton Resnick, Sam Francis, Richard Pousette-Dart, and Philip Guston were notable Abstract Impressionist painters during the 1950s.
Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was a major figure in the abstract expressionist movement, and Canadian artist Jean-Paul Riopelle helped introduce Abstract Impressionism to Paris in the 1950s.
Elaine de Kooning coined the term "Abstract Impressionism" and it was soon used by critic Louis Finkelstein in an attempt to distinguish for Philip Guston the difference between the two forms.
The primary difference is in approach.
The similarity between the two forms, however, is in the final outcome – what is acceptable as a finished piece.
Lawrence Alloway curated an exhibition of the same name in 1958 and included, among others, Bernard Cohen, Harold Cohen, Sam Francis, Patrick Heron, Nicolas de Staël.
A contemporary heir to the Abstract Impressionist form is William Duvall, whose Eco-Abstract paintings are done outdoors. 
Pollock's most famous paintings were made during the "drip period" between 1947 and 1950.
He rocketed to fame following an August 8, 1949 four-page spread in "Life" magazine that asked, "Is he the greatest living painter in the United States?"
At the peak of his fame, Pollock abruptly abandoned the drip style.
Pollock's work after 1951 was darker in color, including a collection painted in black on unprimed canvases.
He later returned to using color and reintroduced figurative elements.
During this period, Pollock had moved to a more commercial gallery; there was great demand for his work from collectors.
In response to this pressure, along with personal frustration, his alcoholism deepened.