Galerie Frank Elbaz will present “Object Lessons,” an exhibition of 40 works on paper from the 1970s by Bay Area native, Jay DeFeo (1929-1989). Running concurrently with a major survey of her work, Jay DeFeo: “The Ripple E ect, at Le Consortium” in Dijon, France (Dallas’ sister city) and “Outrageous Fortune: Jay DeFeo and Surrealism” at Mitchell-Inness & Nash Gallery in New York, the Dallas exhibition is an important contribution to the current examination of DeFeo’s work and its impact on contemporary practice.
DeFeo was a pivotal gure in San Francisco’s historic community of artists, poets, and jazz musicians. In the aftermath of her celebrated monumental painting-cum-sculpture, “The Rose” (1958-1966, now in the collection of the Whitney Museum of American Art), DeFeo turned to the more intimate trappings of her studio, things like the camera tripod and compasses that are the focal points of this exhibition. What began as a chance incident (the hanging of a damaged drawing on her tripod) eventually became a relentless investigation of the multiple ways a single object could be graphically represented. These permutations employed everything from traditional media like graphite and ink to more mechanical means such as photographs and photocopies.
Following the opening reception, the exhibit will be on view through July 14.
Galerie Frank Elbaz will present “Object Lessons,” an exhibition of 40 works on paper from the 1970s by Bay Area native, Jay DeFeo (1929-1989). Running concurrently with a major survey of her work, Jay DeFeo: “The Ripple E ect, at Le Consortium” in Dijon, France (Dallas’ sister city) and “Outrageous Fortune: Jay DeFeo and Surrealism” at Mitchell-Inness & Nash Gallery in New York, the Dallas exhibition is an important contribution to the current examination of DeFeo’s work and its impact on contemporary practice.
DeFeo was a pivotal gure in San Francisco’s historic community of artists, poets, and jazz musicians. In the aftermath of her celebrated monumental painting-cum-sculpture, “The Rose” (1958-1966, now in the collection of the Whitney Museum of American Art), DeFeo turned to the more intimate trappings of her studio, things like the camera tripod and compasses that are the focal points of this exhibition. What began as a chance incident (the hanging of a damaged drawing on her tripod) eventually became a relentless investigation of the multiple ways a single object could be graphically represented. These permutations employed everything from traditional media like graphite and ink to more mechanical means such as photographs and photocopies.
Following the opening reception, the exhibit will be on view through July 14.
Galerie Frank Elbaz will present “Object Lessons,” an exhibition of 40 works on paper from the 1970s by Bay Area native, Jay DeFeo (1929-1989). Running concurrently with a major survey of her work, Jay DeFeo: “The Ripple E ect, at Le Consortium” in Dijon, France (Dallas’ sister city) and “Outrageous Fortune: Jay DeFeo and Surrealism” at Mitchell-Inness & Nash Gallery in New York, the Dallas exhibition is an important contribution to the current examination of DeFeo’s work and its impact on contemporary practice.
DeFeo was a pivotal gure in San Francisco’s historic community of artists, poets, and jazz musicians. In the aftermath of her celebrated monumental painting-cum-sculpture, “The Rose” (1958-1966, now in the collection of the Whitney Museum of American Art), DeFeo turned to the more intimate trappings of her studio, things like the camera tripod and compasses that are the focal points of this exhibition. What began as a chance incident (the hanging of a damaged drawing on her tripod) eventually became a relentless investigation of the multiple ways a single object could be graphically represented. These permutations employed everything from traditional media like graphite and ink to more mechanical means such as photographs and photocopies.
Following the opening reception, the exhibit will be on view through July 14.
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