A01=Elizabeth Ferrell
Author_Elizabeth Ferrell
authorship
bruce conner
Category=AB
Category=AGA
Category=JBSF1
collaboration
collectivity
creative dialogue
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
famous painting
individualism
jay de feo
michael mcclure
new york art scene
postwar american artwallace berman
single work
wally hendrick
women of abstract expressionism
women's studies
Product details
- ISBN 9780300256529
- Dimensions: 178 x 254mm
- Publication Date: 08 Feb 2022
- Publisher: Yale University Press
- Publication City/Country: US
- Product Form: Hardback
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A remarkable portrait of a web of artistic connections, traced outward from Jay DeFeo’s uniquely generative work of art
Through deep archival research and nuanced analysis, Elizabeth Ferrell examines the creative exchange that developed with and around The Rose, a monumental painting on which the San Francisco artist Jay DeFeo (1929–1989) worked almost exclusively from 1958 to 1966. From its early state to its dramatic removal from DeFeo’s studio, the painting was a locus of activity among Fillmore District artists. Wallace Berman, Bruce Conner, Wally Hedrick, and Michael McClure each took up The Rose in their photographs, films, paintings, and poetry, which DeFeo then built upon in turn. The resulting works established a dialogue between artists rather than seamless cooperation. Illustrated with archival photographs and personal correspondence, in addition to the artworks, Ferrell’s book traces how The Rose became a stage for experimentation with authorship and community, defying traditional definitions of collaboration and creating alternatives to Cold War America’s political and artistic binaries.
Through deep archival research and nuanced analysis, Elizabeth Ferrell examines the creative exchange that developed with and around The Rose, a monumental painting on which the San Francisco artist Jay DeFeo (1929–1989) worked almost exclusively from 1958 to 1966. From its early state to its dramatic removal from DeFeo’s studio, the painting was a locus of activity among Fillmore District artists. Wallace Berman, Bruce Conner, Wally Hedrick, and Michael McClure each took up The Rose in their photographs, films, paintings, and poetry, which DeFeo then built upon in turn. The resulting works established a dialogue between artists rather than seamless cooperation. Illustrated with archival photographs and personal correspondence, in addition to the artworks, Ferrell’s book traces how The Rose became a stage for experimentation with authorship and community, defying traditional definitions of collaboration and creating alternatives to Cold War America’s political and artistic binaries.
Elizabeth Ferrell is associate professor of art history at Arcadia University.
