Overview

On the life and afterlives of Jay DeFeo’s Estocada, a work created in the shadow of The Rose In 1965, Jay DeFeo (1929–89) was evicted from her San Francisco apartment, along with the 2,000-pound colossus of a painting for which she would become legendary, The Rose. The morning after it was carried out the front window, DeFeo was forced to destroy the only other artwork she’d started in six years, an enormous painting on paper stapled directly to her hallway wall. The unfinished Estocada—a kind of shadow Rose—was ripped down in unruly pieces and reanimated years later in her studio through photography, photocopy, collage and relief. Drawing from largely unpublished archival material, Rip Tales traces for the first time Estocada’s material history, interweaving it with stories about other Bay Area artists—Zarouhie Abdalian, April Dawn Alison, Ruth Asawa, Lutz Bacher, Bruce Conner, Dewey Crumpler, Trisha Donnelly and Vincent Fecteau—that likewise evoke themes of transformation, intuition and process. Foregrounding a Bay Area ethos that could be defined by its resistance to definition, Rip Tales explores the unpredictable edges of artworks and ideas.

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9781940190297

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Reviews

Rip Tales is so self-assured, heartfelt, and consistently touching, funny, and brilliant, that its various intimacies and ideas feel like a gift. And they are. A deeply moving debut.--Hilton Als author of White Girls An ode to San Francisco and its artistic ecologies, Rip Tales provides a hugely compelling treatise on art as pursuit (one that often comes to naught) and conversation (balm passed between fellow believers that assuages that knot).--Bruce Hainley author of Under the Sign of [sic]: Sturtevant's Volte-Face

Offers an insider's view of an art scene that is storied yet often ignored... Stein presents a template for how documentation and analysis can be used to honor the region's idiosyncratic art-making practices and artists.--Maymanah Farhat Brooklyn Rail Stein's achievement lies less in having discovered or reconstructed an unknown artwork, but rather in so successfully piecing together its scattered representations, found among and within obscure artworks and DeFeo's countless photographs of her studio.--Chris Murtha Art Agenda Rip Tales is a refreshing, necessary reminder that art can be always on its way, unclear and uncategorizable even to its maker.--Sarah Hotchkiss KQED Stein's slim, provocative book presents DeFeo in a format almost as revelatory as the artist's body of work.--Lou Fancher East Bay Express Rip Tales is so self-assured, heartfelt, and consistently touching, funny, and brilliant, that its various intimacies and ideas feel like a gift. And they are. A deeply moving debut.--Hilton Als author of White Girls An ode to San Francisco and its artistic ecologies, Rip Tales provides a hugely compelling treatise on art as pursuit (one that often comes to naught) and conversation (balm passed between fellow believers that assuages that knot).--Bruce Hainley author of Under the Sign of [sic]: Sturtevant's Volte-Face

Rip Tales is a refreshing, necessary reminder that art can be always on its way, unclear and uncategorizable even to its maker.--Sarah Hotchkiss KQED Stein's slim, provocative book presents DeFeo in a format almost as revelatory as the artist's body of work.--Lou Fancher East Bay Express Rip Tales is so self-assured, heartfelt, and consistently touching, funny, and brilliant, that its various intimacies and ideas feel like a gift. And they are. A deeply moving debut.--Hilton Als author of White Girls An ode to San Francisco and its artistic ecologies, Rip Tales provides a hugely compelling treatise on art as pursuit (one that often comes to naught) and conversation (balm passed between fellow believers that assuages that knot).--Bruce Hainley author of Under the Sign of [sic]: Sturtevant's Volte-Face

An ode to San Francisco and its artistic ecologies, Rip Tales provides a hugely compelling treatise on art as pursuit (one that often comes to naught) and conversation (balm passed between fellow believers that assuages that knot).--Bruce Hainley author of Under the Sign of [sic]: Sturtevant's Volte-Face

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