Vince Aletti writes about how the photographs of Jay DeFeo, who painted “The Rose,” transformed her artistic practice.
In 1959, DeFeo was chosen—along with Jasper Johns, Ellsworth Kelly, Louise Nevelson, Robert Rauschenberg, and Frank Stella—for a survey show at the Museum of Modern Art called “Sixteen Americans.” But for a time after “The Rose” was lowered out the window of her Fillmore Street studio, in 1965—an event recorded in a lovely, luminous short film by her friend and fellow Bay Area avant-gardist Bruce Conner—it left a vacuum that brought DeFeo’s work almost to a standstill.
In an essay for the new book, Justine Kurland refers to the “airy weight” of DeFeo’s photographs, and that oxymoronic phrase strikes me as just right. Even when DeFeo is making pictures of solid, very ordinary things—a crab shell, a chandelier, a wooden staircase, a woman’s tattered shoe—the results look like they were captured in a dream, not ephemeral but haunted.
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