- Museum number
Figure I (Tripod series); detailed close-up of nuts and bolts of top of tripod stand. 1976
Graphite, charcoal heightened with white, clear acrylic
- Production date
Height: 412 millimetres
Width: 330 millimetres
- Curator's comments
- One of a number of 'Tripod' and 'Water Goggle' drawings from the mid-1970s. See also pp.32-3 of 'Jay DeFeo' Michael Rosenfeld Gallery, New York, 2002 and 'Jay DeFeo, Her Tripod and its Dress' 6 November 2003 - 10 January 2004, Michael Rosenfeld Gallery, New York, 2003
Label text from 2010-11 Oct-April BM, Picasso to Julie Mehretu
A painter and photographer, DeFeo was part of the avant-garde poetry scene of San Francisco in the 1950s that included Allen Ginsberg. She is best known for her enormous painting, 'The Rose' (Whitney Museum, New York), which the artist worked on from 1956-1966. Heavily encrusted with paint, the work weighs just over 1,000 kilos. In the early 1970s, DeFeo produced hundreds of drawings of inanimate objects, her tripod included, which she drew obsessively.
We are grateful to Leah Levy of the Jay DeFeo Foundation (email, April 2016) for providing us with the following information about the medium. 'DeFeo typically used a clear spray acrylic (made by Krylon) during this period to prepare the paper and make it better able to take the significant amount of working - and erasing with gum erasers and with chemicals - that was part of her process.'
Lit.: I. Seligman, 'Lines of Thought', London, 2016, no. 33, p. 72.
- Not on display
- Exhibition history
2010-11 Oct-April BM, Picasso to Julie Mehretu (no cat.)
2017 May - Sep, New Mexico Museum of Art, Santa Fe, 'Lines of thought: Drawing from Michelangelo to now', no. 33
2017-2018 Oct - Jan, RISD Museum, Rhode Island School of Design, Providence, 'Lines of thought: Drawing from Michelangelo to now', no. 33
- Acquisition date
- Prints and Drawings
- Registration number