![]() In the 1970s, the painter and teacher Gerald Ferguson helped make the Nova Scotia College of Art and Design, in Halifax, into a hotbed of conceptual art. Destruction, construction - they were equally beautiful to her. ![]() She assembled torn-out images to make collages and arranged broken glassware before her camera. She isolated part of a fringed white lampshade against a black wall. She added her own twist, as in juxtaposing veined tropical leaves against a greenhouse glazed grid.ĭeFeo loved fragments. Her black-and-white photographs, like her typically black-and-white paintings, reveled in geometric patterns she located in landscapes and botanical studies, recalling Californians of the previous generation - Edward Weston, Ansel Adams and especially Imogen Cunningham. Some of her photographs were sketches for the acrylic paintings she made post- “Rose,” but most were conceived as independent works. ![]() Like him, too, she explored cameraless photography to compose abstract forms. Like Man Ray, whom she admired, DeFeo prized vision and originality over technical proficiency. Hardly shown publicly in her lifetime, her remarkable photos are featured in their most extensive exhibition to date, “ Inventing Objects,” at Paula Cooper Gallery, and a just-published monograph, “ Jay DeFeo: Photographic Work.” Artistically paralyzed for several years afterward, DeFeo found her way back through a serious engagement with photography that began around 1970.
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