#bruce conner & jay defeo

[thinkingimages]

THE WHITE ROSE on view in the exhibition Bruce Conner & Jay DeFeo: (“we are not what we seem”) at Paula Cooper Gallery 

[grupaok]

Jay DeFeo, Untitled, 1973, with Bruce Conner’s #121: TWELVE MOONS, 1970–71 to the right.

[strathshepard]

Bruce Conner: The White Rose, 1967 (16mm still) 

[blakegopnik]

AT PAULA COOPER, BRUCE CONNER LOOKS AT JAY DeFEO

THE DAILY PIC is “The Late Night Movie on TV 11A:  June 10, 1978,” from a series of Bruce Conner photos in “Bruce Conner & Jay DeFeo,”�� the two-person show that closes this weekend at Paula Cooper in New York.

I love the naturally occurring Surrealism in this photo, which (doubly, in subject and medium) stresses Conner’s role as looker rather than maker — the role that I think suits him best, across his entire career. At Paula Cooper, he fills that role once again, brilliantly, in his famous footage of DeFeo’s 2,500-pound “Rose” being moved out of her studio in 1967.

For a full survey of past Pics visit blakegopnik.com/archive.

[beardrubbings]

BRUCE CONNOR - THE WHITE ROSE 1967 https://en.wikipedia.org/wiki/Bruce_Conner

[pho---to---graph]

Bruce Conner, Jay DeFeo (“we are not what we seem”) Paula Cooper, New York September 9 – October 23, 2021

[trmw]

“Untitled” (1973) by Jay DeFeo, on view as part of Bruce Conner & Jay DeFeo: We Are Not What We Seem at Paula Cooper Gallery in New York City, via this NYT article.

[artbookdap]

Today, we're thinking of Wallace Berman, who was born OTD in Staten Island, 1926, and died OTD, in Topanga, CA, 1976.⁠⁠ ⁠⁠ Images here are from 'Semina Culture: Wallace Berman & His Circle,' published by D.A.P. & @theicala and edited with text by Michael Duncan & Kristine McKenna with text by Stephen Fredman.⁠⁠ ⁠⁠ Pictured here:⁠⁠ 1. "Self-portrait, Larkspur," 1961.⁠⁠ 2. Wallace Berman, "Untitled," 1961–62, Verifax collage.⁠⁠ 3. Wallace Berman’s 'Semina,' a journal of poems and artworks published in nine issues from 1955 to 1964, featuring work by John Altoon, Toni Basil, Charles Britten, Cameron, Bruce and Jean Conner, Jay DeFeo, Diane DiPrima, Robert Duncan, Llyn Foulkes, Ralph Gibson, Allen Ginsberg, Walter Hopps, Dennis Hopper, Philip Lamantia, Michael McClure, Taylor Mead, Henry Miller, Jack Smith and many others.⁠⁠ 4. 'Semina 1,' 1955, Los Angeles, 150 copies. Cover is a photo of Cameron by Berman. Drawing is "Untiitled (peyote vision)" by Cameron.⁠⁠ 5. 'Semina 4,' 1959, San Francisco. Cover: "Wife" by Wallace Berman (photo of Shirley Berman). Poem is Stuart Perkoff's “Boplicity."⁠⁠ 6. Wallace Berman, "Untitled," 1971–72, Verifax collage.⁠⁠ 7. Berman family with "Panel" assemblage, 707 Scott⁠⁠ Street, San Francisco, 1959. ⁠⁠ ⁠⁠ Read more via linkinbio!⁠⁠ ⁠⁠ #wallaceberman @imtoshberman #semina @sfgpersonal @michaelnduncan #bornotd⁠⁠ https://www.instagram.com/p/CLcRNDDpHEE/?igshid=1vk3c6hjnvss1

[thefloatingindex]

NYC gallery roundup

some unordered highlights from a few days in new york, late october 2021: Robert Ashley: eL/Aficionado @ Roulette Intermedium Lucas Hnath: Dana H. @ Lyceum Theatre Thomas Nozkowski: The Last Paintings @ Pace Gallery Ching Ho Cheng and Frank Moore (curated by Hilton Als), More Life @ David Zwirner Wong Ping: The Great Tantalizer @ Tanya Bonakdar Gallery Terence Blanchard: Fire Shut Up in My Bones @ Metropolitan Opera Tishan Hsu: skin-screen-grass @ Miguel Abreu (88 Eldridge)  Janet Cardiff and George Bures Miller: After the summer of smoke and fire @ Luhring Augustine (Chelsea) Labyrinth of Forms: Women and Abstraction, 1930-1950 @ The Whitney Bruce Conner & Jay DeFeo: “we are not what we seem” @ Paula Cooper Milford Graves: Fundamental Frequency @ Artists Space Ei Arakawa: Social Muscle Rehab @ Artists Space Rosemary Mayer: Ways of Attaching  @ Swiss Institute Tobias Spichtig: Good OK Great Fantastic Perfect Grand Thank You @ Swiss Institute Marina Rosenfeld: Partials @ Miguel Abreu (36 Orchard) Christian Dior: Designer of Dreams @ Brooklyn Museum Etel Adnan: Light’s New Measure @ Guggenheim

[leanpick]

Jay DeFeo and Bruce Conner Were BFF’s (Bohemian Friends Forever)

Jay DeFeo and Bruce Conner Were BFF’s (Bohemian Friends Forever)

The close friendship between Jay DeFeo and Bruce Conner, leading figures on the San Francisco art scene, is the stuff of bohemian legend. They spoke to each other so often that DeFeo nicknamed Conner “Telephone,” and their long, meandering conversations spilled over into their work. A captivating two-person show at the Paula Cooper Gallery, “We Are Not What We Seem,” is the first to consider…

[strathshepard]

Bruce Conner and Jay DeFeo were close friends who met in the 1950s as part of the Beat-adjacent group of artists based in San Francisco. The Conner Family Trust, The Jay DeFeo Foundation, and the Paula Cooper Gallery are delighted to present the first ever two-person exhibition of their work. From 1958 to 1966 Jay DeFeo worked on The Rose, a monumental painting massive in both scale and concept. When the work had to be removed from DeFeo’s second-story studio in 1965, Conner filmed the extraordinary task. The seven-and-a-half-minute film is an ode to DeFeo and her art, and became an important document testifying to the significance of The Rose as legend of it proliferated. Throughout their careers Conner and DeFeo were in frequent communication, exchanging images and reproducing each other’s works. These drawings, collages, photographs, and photocopies accompany an installation of Conner’s film THE WHITE ROSE (1967) at Paula Cooper Gallery, shining new light on his and DeFeo’s artistic relationship and parallel trajectories.

[javierpenadea]

"Jay DeFeo and Bruce Conner Were BFF’s (Bohemian Friends Forever)" by BY DEBORAH SOLOMON via NYT Arts https://ift.tt/3v308TL

[artsintheclassroom]

The San Francisco artists blazed trails in the ’60s and ’70s that converge at Paula Cooper.

[pho---to---graph]

Bruce Conner, Jay DeFeo (“we are not what we seem”) Paula Cooper, New York September 9 – October 23, 2021

[angeartstudio11b]

Formative Assessment - Lecturer comment:

Kia ora Ange, I really enjoyed seeing your work in the formative exhibition along with other process works in your studio. You have a flair, bravery, and curiosity with using materials. An experimental process doesn’t mean everything works but when it does, “look out!” that is to say, without risk you don’t get anywhere. I like the way you are exploring new ways of what I would call “thinking through materials” meaning that also you aren’t necessarily working simply intuitively, but building up your learned skill, much like musicians who improvise. This is an especially good period (2nd year) to experiment in a variety of ways. Your workbook is very well done, capturing a range of responses to your process, other artists’ works, notes on events, etc I would recommend checking out some more artists as you go, and here is a (rather lengthy) list of a number of artists who could be of interest to you:

Senga Nengudi, Jessica Stockholder, David Hammons, Lee Bontecou, Thomas Hirschhorn, Dan Arps, Carol Bove, Lynda Benglis, Peter Robinson, Ann Hamilton, Lygia Clark, Helio Oiticica, Gabriel Orozco, Jay DeFeo, Bruce Conner

I look forward to seeing where your next works lead you, good working with you this semester! —Martin

[robbialy]

Happy birthday Manuel Neri (April 12, 1930) • (l-r) Joan Brown, Jay DeFeo, and Manuel Neri at 2322 Fillmore Street, San Francisco, 1958 • In the late 1950s, Manuel Neri was a member of the artist-run cooperative gallery, Six Gallery in San Francisco, along with Joan Brown, Bruce Conner, Jay DeFeo, and other artists. In October 1955, he helped organize "6 Poets at 6 Gallery" Six Gallery reading, a landmark Beat era event where Allen Ginsberg gave the first public reading of Howl. In 1959, Neri was an original member of Bruce Conner's Rat Bastard Protective Association. In the 1960s, he was associated with the Bay Area Figurative Movement. Regram from @beatgrrrl https://www.instagram.com/p/BwJXJCwh2IMJ7KOyN0h_41wVbzAlirGPux_ymQ0/?utm_source=ig_tumblr_share&igshid=k6ptwjx2dbtg