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Wallace Berman WALLACE BERMAN BORN 1926-1976 Born in Staten Island, NY SOLO EXHIBITIONS 2010 Wallace Berman: Be-bop Kabbalah, Galerie Frank Elbaz, Paris, France Wallace Berman, Anne Mosseri-Marlio Galerie, Zurich, Switzerland 2009 Wallace Berman, 1926 – 1976, Nicole Klagsbrun Gallery, New York 2008 Wallace Berman, Camden Arts Centre, London 2006 Semina Culture, Berkeley Art Museum and Pacific Film Archive BAM/PFA, Berkeley, CA 2005 Aleph - A Film by Wallace Berman, The Jewish Museum of New York, New York City, NY 2000 Wallace Berman - Art Is Love Is God - une introduction - 1957-1976, Mamco - musée d´art moderne et contemporain, Geneva 1992 Support the Revolution: Wallace Berman, ICA/Amsterdam 1990 A Gesture Involving Verifax Collage, Photographs, Text and Sculpture: Wallace Berman, Louver Gallery, New York 1988 Works from the Estate, LA Louver, Venice, CA 1979 Work by Wallace Berman: Art is Love is God, LA Louver, Venice, CA Wallace Berman, LA Louver, Venice, CA 1957 Ferus Gallery, Los Angeles GROUP EXHIBITIONS 2014 Walls and Words, organized by UNTITLED Gallery, Eldridge Street Synagogue, New York 2013 An Opening of the Field: Jess, Robert Duncan and Their Circle, curated by Michael Duncan; Traveling exhibition beginning at the Crocker Art Museum, Sacramento, CA 2012 INTO THE MYSTIC, Michael Kohn Gallery, Los Angeles LA RAW: Abject Expressionism in Los Angeles 1945-1980: From Rico Lebrun to Paul McCarthy, curated by Michael Duncan,The Pasadena Museum of California Art, Pasadena, CA (January – April 2012) Pacific Standard Time: Art in L.A., 1945-1980, Traveling exhibition beginning at the Getty Center, Los Angeles; Martin Gropius-Bau, Berlin, Germany 2011 Pacific Standard Time: Art in L.A., 1945-1980, The Getty Center, Los Angeles All of the Above: Carte Blanche a John M Armleder, Palais de Tokyo, Paris, France Speaking in Tongues: The Art of Wallace Berman and Robert Heinecken, curated by Claudia Bohn-Spector and Sam Mellon, The Armory Center, Pasadena, CA (October 1, 2011 – January 22, 2012) 25th Anniversary Show, Michael Kohn Gallery, Los Angeles 2009 California Maximalism, Foundation 20 21/Nyehaus, New York, NY She: Images of Women by Wallace Berman and Richard Prince, Michael Kohn Gallery, Los Angeles, CA 2008 Time & Place: Los Angeles 1957-1968, Moderna Museet, Stockholm Looking for Mushrooms, Ludwig Museum, Cologne, Germany Trace du Sacre, Centre Pompidou, Paris, France 2007 Pioneers, CCA Wattis Institute for Contemporary Arts, San Francisco, CA Semina Culture, Grey Art Gallery, New York University, New York, NY 2006 Radical Software - Art, Technology, and the Bay Area Underground, CCA Wattis Institute for Contemporary Arts, San Francisco, CA Semina Culture: Wallace Berman and His Circle, Ulrich Museum of Art, Wichita, KS California Modern, Orange County Museum of Art, Newport Beach 2005 Looking at Words, Andrea Rosen Gallery, New York City, NY Semina Culture - Wallace Berman & His Circle, Santa Monica Museum of Art, Santa Monica, CA Tony DeLap & Wallace Berman, Patricia Faure Gallery, Santa Monica, CA 2004 Subway Series - The New York Yankees and the American Dream, Bronx Museum of the Arts (BxMA), Bronx, NY Evidence of Impact: Art and Photography 1963–1978, Whitney Museum of American Art, New York City, NY Collage, Bloomberg Space, London (England) 2003 Some Assembly Required - Collage Culture in Post-War America, Polk Museum of Art, Lakeland, FL 2002 Ferus, Gagosian Gallery - 24th Street, New York City, NY 2000 S.O.S.: Scenes of Sounds, Tang Museum at Skidmore College, Saratoga Springs, NY 1999 Group Show, Nicole Klagsbrun Gallery, New York City, NY 1998 World Artists for Tibet, Santa Monica Museum of Art, Santa Monica, CA 1997 Sunshine and Noir: Art in Los Angeles 1960 – 1997, Louisiana Museum of Modern Art, Copenhagen 1992 Poem Makers: Wallace Berman, George Herms, Jess, LA Louver, Venice, CA Overlay, Louver Gallery, New York 1991 Summer: Scale, Louver Gallery, New York 1990 Contemporary Assemblage: The DADA and Surrealist Legacy, LA Louver, Venice 1988 The Art of George Herms and Wallace Berman, Herron Gallery, Indianapolis 1986 American/European Painting and Sculpture 1986: Part 1, LA Louver, Venice, CA 1981 Group Show: California: A Sense of Individualism: Part 1, LA Louver, Venice, CA 1980 Group Show: Summer Exhibition Part 1, LA Louver, Venice, CA PUBLIC COLLECTIONS Berardo Museum - Collection of Modern and Contemporary Art, Lisbon, Portugal Mamco - musée d´art moderne et contemporain, Geneva, Switzerland Fotomuseum Winterthur, Winterthur , Switzerland Nora Eccles Harrison Museum of Art, East Logan, UT Los Angeles County Museum of Art - LACMA, Los Angeles, CA MOCA Grand Avenue, Los Angeles, CA The Jewish Museum of New York, New York City, NY Whitney Museum of American Art, New York City, NY Norton Simon Museum of Art, Pasadena, CA Phoenix Art Museum, Phoenix, AZ San Francisco Museum of Modern Art - SFMOMA, San Francisco, CA The Corcoran Gallery of Art, Washington, DC .
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  • Wallace Berman Aleph
    “Art is Love is God”: Wallace Berman and the Transmission of Aleph, 1956-66 by Chelsea Ryanne Behle B.A. Art History, Emphasis in Public Art and Architecture University of San Diego, 2006 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2012 ©2012 Chelsea Ryanne Behle. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: __________________________________________________ Department of Architecture May 24, 2012 Certified by: __________________________________________________________ Caroline Jones, PhD Professor of the History of Art Thesis Supervisor Accepted by:__________________________________________________________ Takehiko Nagakura Associate Professor of Design and Computation Chair of the Department Committee on Graduate Students Thesis Supervisor: Caroline Jones, PhD Title: Professor of the History of Art Thesis Reader 1: Kristel Smentek, PhD Title: Class of 1958 Career Development Assistant Professor of the History of Art Thesis Reader 2: Rebecca Sheehan, PhD Title: College Fellow in Visual and Environmental Studies, Harvard University 2 “Art is Love is God”: Wallace Berman and the Transmission of Aleph, 1956-66 by Chelsea Ryanne Behle Submitted to the Department of Architecture on May 24, 2012 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT In 1956 in Los Angeles, California, Wallace Berman, a Beat assemblage artist, poet and founder of Semina magazine, began to make a film.
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  • View Prospectus
    Archive from “A Secret Location” Small Press / Mimeograph Revolution, 1940s–1970s We are pleased to offer for sale a captivating and important research collection of little magazines and other printed materials that represent, chronicle, and document the proliferation of avant-garde, underground small press publications from the forties to the seventies. The starting point for this collection, “A Secret Location on the Lower East Side,” is the acclaimed New York Public Library exhibition and catalog from 1998, curated by Steve Clay and Rodney Phillips, which documented a period of intense innovation and experimentation in American writing and literary publishing by exploring the small press and mimeograph revolutions. The present collection came into being after the owner “became obsessed with the secretive nature of the works contained in the exhibition’s catalog.” Using the book as a guide, he assembled a singular library that contains many of the rare and fragile little magazines featured in the NYPL exhibition while adding important ancillary material, much of it from a West Coast perspective. Left to right: Bill Margolis, Eileen Kaufman, Bob Kaufman, and unidentified man printing the first issue of Beatitude. [Ref SL p. 81]. George Herms letter ca. late 90s relating to collecting and archiving magazines and documents from the period of the Mimeograph Revolution. Small press publications from the forties through the seventies have increasingly captured the interest of scholars, archivists, curators, poets and collectors over the past two decades. They provide bedrock primary source information for research, analysis, and exhibition and reveal little known aspects of recent cultural activity. The Archive from “A Secret Location” was collected by a reclusive New Jersey inventor and offers a rare glimpse into the diversity of poetic doings and material production that is the Small Press Revolution.
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  • The Rat Bastard Protective Association Was Founded in 1957 by the Artist Bruce Conner and the Poet Michael Mcclure
    The Rat Bastard Protective Association was founded in 1957 by the artist Bruce Conner and the poet Michael McClure. As Conner told it to Peter Boswell, a seasoned curator, the association was “for people who were making things with the detritus of society, who themselves were ostracized or alienated from full involvement with society.” This community of artists and poets lived and worked together in and around 2322 Fillmore Street (San Francisco), which they dubbed “Painterland." The idiosyncratic group included Wallace Berman, Bruce Conner, Jean Conner, George Herms, Wally Hedrick and Jay DeFeo. © 2018 The Jay DeFeo Foundation / Artist Rights Society (ARS), New York. Courtesy of The Jay DeFeo Foundation and Mitchell-Innes & Nash, NY. Jay DeFeo. Untitled. 1973. DeFeo, a New Hampshire native, grew up in the Bay area, and attended the University of California, Berkeley, where she earned both her bachelor’s and master’s degrees in the early 1950’s. After traveling to Europe and North Africa, DeFeo settled permanently in Northern California. It was a propitious moment in American culture. In 1953, Lawrence Ferlinghetti, the poet, and Peter D. Martin, a sociologist, had opened City Lights booksellers. San Francisco became the quasi-West Coast capital of Beat culture, the home of “new bohemian hedonists who celebrated non- conformity and spontaneous creativity.” This was the cultural milieu for DeFeo. DeFeo worked almost exclusively on The Rose from 1958 to 1966. (This painting may have been a true monomaniacal obsession. Monomaniacs are defined as rational people whose rationality is applied to a specific object, branch of knowledge or activity.) The Rose is DeFeo’s Meisterstück bar none, and it always has to be mentioned.
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  • Wallace Berman, Self-Portrait, Topanga Canyon, 1974 Topanga Berman, Self-Portrait, Wallace (Printed 2004), Gelatin Silver Print, 16 X 20 In
    NGOV-DECA2006/JLLAN 2007 Ewww.galleryandstudiomagazine.comRY&ST U VOL. 9D NO. 2 I NewO York The World of the Working Artist B N WALLACE ERMA THE GREAT UNKNOWN a bohemian rhapsody by Ed McCormack page 18 Wallace Berman, Self-Portrait, Topanga Canyon, 1974 Topanga Berman, Self-Portrait, Wallace (printed 2004), Gelatin silver print, 16 x 20 in. Berman Estate Courtesy Wallace Bruce A. Dumas “Spell Bound” 16"x20" Acrylic on canvas November 30, 2006-January 13, 2007 Patrick’s Fine Art 21 East 62nd Street, New York, NY 10021 By appointment: 917-743-9704 or 212-591-1918 THE BROOME STREET GALLERY Ground floor, 1,300 sq. ft. Exhibition space rental available 498 Broome Street, New York, NY 10013 Tel: (212) 941-0130 GALLERY&STUDIO NOV-DEC 2006/JAN 2007 Nancy Staub Laughlin Pastels and Photographs January 9 - February 17, 2007 530 West 25th St., 4th Fl. NYC, 10001 Tues - Sat 11 - 6pm 212 367 7063 Sun. by appt. www.nohogallery.com Catalog available at the show, with introduction by Art Critic and Historian Sam Hunter. For more information please visit www.nancystaublaughlin.com “Pink Diamond and Sequin” 36" x 27" G&S Truman Marquez, page 4 Highlights On the Cover: An underground legend in Venice, California, in the late 1950s, Wallace Berman was a magnet for serious artists, errant movie stars and “bedbug beatniks.” “SEMINA CULTURE: Nancy Staub Laughlin, page 25 Wallace Berman & His Circle” coming to N.Y.U.’s Grey Gallery in January, positions him as a precursor of postmodernism.–Page 18 SM Lewis, page 34 David Tobey, page 28 Sheila Finnigan, page 9 Personal Belongings, page 11 Drew Tal, page 32 Phyllis Smith, page 33 Peg McCreary, Bruce A.
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  • Beat Generation Novembre 2016 ZKM Atrium 8+9
    Sam. 26.11.2016 – Dim. 30.04.2017 C Communiqué de presse Beat Generation Novembre 2016 ZKM_Atrium 8+9 Beat Generation -- Exposition Le vernissage de l’exposition se déroulera le vendredi 25.11.2016 à 19h. Durée de l’exposition La conférence de presse est organisée le jeudi 24.11.2016 à 11 heures. Sam. 26.11.2016-dim. 30.04.2017 -- Lieu ZKM_Atrium 8+9 Le ZKM | Karlsruhe, en coopération avec le Centre Pompidou – Conférence de presse Musée national d’art moderne à Paris, présente l’exposition Beat Jeu. 24.11.2016, 11 heures Generation. Le ZKM a déjà consacré ces dernières années Attachées de presse diverses expositions à ses figures majeures, tels William S. Dominika Szope Burroughs (The Name Is BURROUGHS. Expanded Media, 2012) Directrice du service Presse et Relations publiques et Allen Ginsberg (Beat Generation. Allen Ginsberg, 2013). Cette Tél. : +49 (0)721 / 8100 – 1220 nouvelle exposition offre pour la première fois un aperçu Regina Hock d’ensemble de ce mouvement littéraire et artistique né à la fin Collaboratrice du service Presse et des années 1940. Considérés à l’époque comme des rebelles Relations publiques Tél. : +49 (0)721 / 8100 – 1821 subversifs, les „beatniks“ sont aujourd’hui perçus comme les acteurs de l’un des mouvements culturels les plus importants du E-mail : [email protected] www.zkm.de/presse 20e siècle. ZKM | Centre d’Art et des Médias Karlsruhe Mouvement culturel et littéraire, la Beat Generation voit le jour aux Lorenzstraße 19 76135 Karlsruhe États-Unis à la fin des années 1940, c’est-à-dire au tout début de la Guerre froide qui succède à la Seconde Guerre mondiale.
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  • Robert Heinecken Object Matter
    Robert Heinecken Object Matter Eva Respini The Museum of Modern Art, New York Contents Published in conjunction with the exhibition Robert Heinecken: 6 Lenders to the Exhibition Object Matter, organized by Eva Respini, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, The Museum of Modern Art, New York. 7 Foreword The exhibition is presented at The Museum of Modern Art, New York, Glenn D. Lowry from March 15 to June 22, 2014, and at the Hammer Museum, Los Angeles, from October 5, 2014, to January 17, 2015. 9 Not a Picture of, but an Object about Something Major support for the exhibition is provided by The William Eva Respini Randolph Hearst Endow ment Fund and by The Robert Mapplethorpe Foundation. 26 Plates Additional funding is provided by The Junior Associates of The Museum of Modern Art and by the MoMA Annual Exhibition Fund. 146 Pinups, Photograms, Polaroids, and Printing Plates: Special thanks to the Center for Creative Photography, University Iterations in Robert Heinecken’s Work Process of Arizona, Tucson, which houses the Robert Heinecken Archive, Jennifer Jae Gutierrez and to The Robert Heinecken Trust, Chicago. Produced by the Department of Publications, Writings by Robert Heinecken The Museum of Modern Art, New York 154 Statements about Work Edited by Diana C. Stoll Designed by Naomi Mizusaki, Supermarket 155 The Photograph: Not a Picture of, but an Object about Something Production by Matthew Pimm 156 Manipulative Photography Printed and bound by Ofset Yapimevi, Istanbul 158 I Am Involved in Learning to Perceive and Use Light This book is typeset in Akzidenz Buch, ITC Bookman, and Bodoni Poster.
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  • Wallace Berman — Visual Music
    66 rue de Turenne - 75003 Paris, France +33 1 48 87 50 04 - [email protected] www.galeriefrankelbaz.com Wallace Berman — Visual Music Curated by Sophie Dannenmüller September 8 - October 11, 2018 Opening on Saturday, September 8, 2018 4:30 pm —Exhibition walkthrough with the curator, followed by a Q&A session with the son of the artist, Tosh Berman 6-8 pm —Opening Reception & Bebop Concert by the Bobby Rangell Band galerie frank elbaz is pleased to present Wallace Berman – Visual Music, the artist’s third solo exhibition in Paris. The catalog essay and exhibition examine the connection between sound and image, music and visual art, in Berman’s artwork and show the extremely important role music played in Berman’s artistic approach. His dual love of music and art often fused in pieces that reveal both musical and visual qualities. Music was inseparable from Berman’s life and work. The artist always kept strong ties to the music world and kept track of the latest developments with an insatiable curiosity, exploring the avant-garde beyond California and taking notice of innovative, unusual, and sometimes confidential productions. Berman’s love of music wasn’t limited to one particular genre but embraced many styles. Jazz, however, always remained his great love, especially bebop. Berman was a regular at Tempo Records in Los Angeles, a shop connected to the Dial label which was created to promote bebop. His drawings were chosen for several Dial leaflets and for the cover of the two-volume album Be-Bop Jazz with All the Stars of the New Movement released in 1947 and 1948.
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  • The Wise & Foolish Virgins Av Jay Defeo
    The Wise & Foolish Virgins av Jay DeFeo Verkets historikk, og drøftning av dets symbolske betydning Universitetet i Oslo Institutt for filosofi, ide- og kunsthistorie og klassiske språk Seksjon for kunsthistorie – Våren 2009 Masteroppgave i kunsthistorie av Kristin M. Wennesland II III Forord Utgangspunkt for valg av tema Min interesse for Jay DeFeos kunst startet med en fascinasjon for den amerikansk vestkystkunsten som ble til på 1950 - 1970-tallet. Wenneslandsamlingen som tilhører Universitetet i Agder (UiA)1 og Kristiansand Katedralskole Gimle (KKG)2 har, i tillegg til familiens private del av Dr. Reidar Wenneslands kunstsamling, vært en del av livet mitt. Reidar Wennesland som overrakte mesteparten av sin kunstsamling fra San Francisco (SF) til disse to skolene var min fars onkel. Til tross for at ”onkel Reidar” døde da jeg var 12 år gammel, og jeg aldri møtte ham, har han påvirket meg i sterk grad. I tidlig barndom var jeg mest opptatt av alle hans eksotiske dyr som jeg hørte om, senere kom interessen for hans kunstsamling. Flere av kunstnerne representert i Wenneslandsamlingen bodde hos onkel Reidar i perioder. Noen forble hans venner helt til han døde. Et par av disse, Arthur Monroe og Michael Bowen, har holdt kontakten med familien. De er begge sterkt representert i samlingen, ikke bare på skolene, men også i vårt hjem. Da jeg skulle gå i gang med masteroppgaven min var det naturlig for meg å velge å skrive om en av Wenneslandsamlingens kunstnere. Jeg var imidlertid bevisst på at dette kunne gi meg etiske problemer. Jeg bestemte meg derfor for å skrive om en av kunstnerne fra samlingen som jeg verken kjenner personlig, eller familien eier verk, av for å distansere meg fra mitt emne.
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  • Beat Generation November 2016
    Saturday 26.11.2016 – Sunday 30.04.2017 C Press Release Beat Generation November 2016 ZKM_Lichthof 8+9 Beat Generation Exhibition __ Duration of exhibition Sat, Nov. 26, 2016 - The exhibition will open on Friday, November 25, 2016 at 7 p.m.. The Sun, Apr. 30, 2017 press conference will be held on Thursday, November 24, 2016 at 11 a.m.. Venue __ ZKM_Atrium 8+9 The ZKM | Karlsruhe will be the second stage of the Beat Generation exhibition after the Centre Pompidou in Paris. In the Press contact Dominika Szope last few years, the ZKM has dedicated a number of major Head of Press & Public Relations Tel.: +49(0)721 / 8100 – 1220 exhibitions to the leading figures of the Beat Generation, such as William S. Burroughs and Allen Ginsberg. In this new Regina Hock Press & Public Relations exhibition, an overview of the literary and artistic movement, Tel.: +49 (0)721 / 8100 – 1821 which was created at the end of the 1940s, will now be E-mail: [email protected] provided for the first time. If “beatniks” were viewed back then www.zkm.de/presse as subversive rebels, they are now perceived as actors in one of ZKM | Center for Art and Media Karlsruhe th the most important cultural directions of the 20 century. Lorenzstraße 19 76135 Karlsruhe The Beat Generation was a literary and artistic movement that arose at the end of the Forties in the USA after the Second World War and in the early days of the Cold War. It scandalized the puritanical America of the ZKM sponsors McCarthy era, heralding the cultural and sexual revolution of the Sixties and the lifestyle of the younger generation.
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  • Wallace Berman
    WALLACE BERMAN BORN 1926-1976 Born in Staten Island, NY SOLO EXHIBITIONS 2010 Wallace Berman: Be-bop Kabbalah, Galerie Frank Elbaz, Paris, France Wallace Berman, Anne Mosseri-Marlio Galerie, Zurich, Switzerland 2009 Wallace Berman, 1926 – 1976, Nicole Klagsbrun Gallery, New York 2008 Wallace Berman, Camden Arts Centre, London 2006 Semina Culture, Berkeley Art Museum and Pacific Film Archive BAM/PFA, Berkeley, CA 2005 Aleph - A Film by Wallace Berman, The Jewish Museum of New York, New York City, NY 2000 Wallace Berman - Art Is Love Is God - une introduction - 1957- 1976, Mamco - musée d´art moderne et contemporain, Geneva 1992 Support the Revolution: Wallace Berman, ICA/Amsterdam 1990 A Gesture Involving Verifax Collage, Photographs, Text and Sculpture: Wallace Berman, Louver Gallery, New York 1988 Works from the Estate, LA Louver, Venice, CA 1982 Charles Cowles Gallery, New York 1979 Work by Wallace Berman: Art is Love is God, LA Louver, Venice, CA Wallace Berman, LA Louver, Venice, CA 1978 Otis Art Institute, Los Angeles (traveled to Fort Worth Art Museum, Fort Worth; University Art Museum, Berkeley; Seattle Art Museum, Seattle) (catalogue) Whitney Museum of American Art, New York 1977 Timothea Stewart Gallery, Los Angeles 1974 Gemini G.E.L., Los Angeles, CA 1973 The Mermaid Tavern (one day), Topanga, CA 1968 Los Angeles County Museum of Art, Los Angeles (catalogue) Jewish Museum, New York (catalogue) 1967 Topanga Community House (one day), Topanga, CA 1965 Studio Exhibition, Beverly Glen 1957 Ferus Gallery, Los Angeles GROUP EXHIBITIONS
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  • 'Bite Your Tongue: Antonin Artaud and the Neo
    ‘Bite Your Tongue: Antonin Artaud and the Neo-Avant-Garde’ in: Kelly Baum et al., Delirious: Art at the Limits of Reason, exh. cat. New York: Metropolitcan Museum of Art / New Haven and London: Yale University Press, 2017, pp. 64-75 Lucy Bradnock Then you will have taught him to dance upside down As in the mania of the dancehalls, And this upside down Will be his real place. Antonin Artaud1 According to countercultural legend, at some point in the early 1960s, the French artist and activist Jean-Jacques Lebel broke into the Paris headquarters of the radio station Radiodiffusion Française, emerging with a taped copy of the controversial radio play Pour en finir avec le jugement de dieu by Antonin Artaud (1896–1948). The play had been commissioned from the dissident Surrealist writer in 1947 but censored prior to the scheduled broadcast, its vitriolic criticism of American militarism, decadent bourgeois society, and organized religion apparently proving too controversial in the aftermath of World War II and the era of the Marshall Plan. More than a decade later, the recording retained an aura of transgression. Lebel organized underground gatherings to listen; he shared the tape with poet Allen Ginsberg, who in turn sent copies to poet Michael McClure, radical theatermakers Judith Malina and Julian Beck, poet Jack Hirschman and radio producer Ruth Hirschman (who broadcast it on the West Coast KPFK radio 1 station in 1964), and poet and Civil Rights activist LeRoi Jones (later Amiri Baraka).2 Many were already familiar with the work of the controversial writer, following the publication in translation of a number of his poems, letters, and theatre manifestoes.
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  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Ring around The Rose Permalink https://escholarship.org/uc/item/7426863k Author Ferrell, Elizabeth Allison Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Ring around The Rose: Jay DeFeo and her Circle By Elizabeth Allison Ferrell A dissertation submitted for partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Emerita Anne M. Wagner, Chair Professor Emeritus Timothy Clark Professor Shannon Jackson Professor Darcy Grigsby Fall 2012 Copyright © Elizabeth Allison Ferrell 2012 All Rights Reserved Abstract The Ring around The Rose by Elizabeth Allison Ferrell Doctor of Philosophy in History of Art University of California, Berkeley Professor Emerita Anne M. Wagner, Chair From 1958 to 1966, the San Francisco artist Jay DeFeo (1929-89) worked on one artwork almost exclusively – a monumental oil-on-canvas painting titled The Rose. The painting’s protracted production isolated DeFeo from the mainstream art world and encouraged contemporaries to cast her as Romanticism’s lonely genius. However, during its creation, The Rose also served as an important matrix for collaboration among artists in DeFeo’s bohemian community. Her neighbors – such as Wallace Berman (1926-76) and Bruce Conner (1933-2008) – appropriated the painting in their works, blurring the boundaries of individual authorship and blending production and reception into a single process of exchange. I argue that these simultaneously creative and social interactions opened up the autonomous artwork, cloistered studio, and the concept of the individualistic artist championed in Cold-War America to negotiate more complex relationships between the individual and the collective.
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