January 5, 2021
Jay DeFeo in The Wall Street Journal
Jay DeFeo working on early version of The Rose (known then as The White Rose).…
December 2, 2020
Remembering Jim Demetrion
The Washington Post, November 30, 2020 "James Demetrion, museum director who transformed the Hirshhorn, dies…
November 23, 2020
New Video on Jay DeFeo and her Generation
Apparition, 1956 On November 17, 2020, Gagosian hosted a conversation on Jay DeFeo with Los…
November 16, 2020
Jay DeFeo: Selected Photographs – Marc Selwyn Fine Art Viewing Room
Untitled, 1972 Marc Selwyn Fine Art presents an online viewing room of Jay DeFeo's selected…
November 13, 2020
Gagosian Quarterly – JAY DEFEO’S TRANSCENDENT OBJECTS
Untitled (Shoetree series), 1977 Gagosian Quarterly, November 12, 2020 "Jay DeFeo’s Transcendent Objects" By Alice…
November 13, 2020
Jay DeFeo in The Brooklyn Rail
Untitled, c. 1962-71 The Brooklyn Rail, November 11, 2020 "Orbits of Known and Unknown Objects:…
November 13, 2020
Jay DeFeo’s Generation: A Conversation hosted by Gagosian
Lotus Eater No. 1, 1974 November 17, 2020, 11AM PST Join Gagosian for a conversation…
November 2, 2020
Catching Ideas in Process: Jay DeFeo’s Photography
Untitled, 1971 Untitled, 1973 CCA Wattis Institute for Contemporary Arts is hosting a panel discussion…
October 16, 2020
Jay DeFeo in SF Chronicle
Trap, 1972 Installation view of Transcending Definition: Jay DeFeo in the 1970s, 2020 SF Chronicle, Datebook,…
![“Abandoned, pulled from the sea, and eventually photographed by Jay DeFeo, the crab shell of Untitled (1973) might initially appear like the odd sitter of a portrait. Whether it was the undulating crevices or the subtle textured dot pattern across the surface, the serrated edges or its overall shape—something about the shell of Untitled (1973) ruminated with DeFeo; she chose this shell because of the formal qualities it possessed. DeFeo often returned to her favored “symbol shapes,” not out of comfort, but rather as part of her ongoing project to reformulate and expand upon a visual idea. Untitled (1973) conjures DeFeo’s past works on paper, such as Eyes and After Image (amongst others), the three connected through their form or composition. Nothing about the organization of her artworks is ever random. When she tore the edge of paper just so and selected a heavily grained paper for this collage, DeFeo cleverly mirrored the shell’s jagged edges and nubby surface texture, another visual opportunity she created by examining the underlying forms of the shell. When I first viewed Untitled (1973) at the Whitney Museum in 2013, this collage immediately spoke to me—so quiet and unassuming—and continues to reveal its visual complexity over time.“
- Kimberly Burch, Lecturer of Art, School of Art, California State University, Long Beach
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[Jay DeFeo, Untitled, 1973, Photo collage with torn element on matboard, 5 1/8 x 4 1/4 inches (13 x 10.8 cm), Collection of Whitney Museum of American Art. May not be reproduced in any form without permission of The Jay DeFeo Foundation. © 2021 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York]
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