Left: DeFeo, "The Rose" Right: Johns, "Flags"
The first time that painters Jasper Johns and Jay DeFeo exhibited in the same museum was in 1959, when New York’s MoMA presented “Sixteen Americans,” a show so avant garde that critics are still talking about it.
Fifty-four years later, the two artists are under the same roof again, this time at SFMOMA. That’s the good news. The bad news: Sunday, Feb. 3 is the last day to experience both shows.
To send the exhibitions out on a high note, the museum is planning a Jay DeFeo Community Tribute on Saturday, Feb. 2, from 2:00 to 5:30 p.m., at the Phyllis Wattis Theater. Numerous speakers will discuss DeFeo's central role in the artistic culture of San Francisco over a period spanning four decades. (Free, does not include museum admission.)
Meanwhile, “Jasper Johns: Ideas in Paint,” a 56-minute film by Rick Tejada-Flores, has a final showing on Feb. 2, at 2:30 in the Koret Visitor Education Center. (Free with museum admission.)
Now for a guide to what makes the two artists so radical:
DeFeo settled in San Francisco in 1953 and experimented with various media before turning to painting. Radical props for being a woman artist, but not for marrying a man (fellow Beat Wally Hedrick) or for her forays into jewelry making and collage. Radical Rating: 8/10
Over eight years, DeFeo obsessively built up, scraped down, and rebuilt The Rose at least three times, using nearly a ton of oil paint in the final version. (Forty-six years later, it’s probably still not dry on the inside.) On the other hand, it’s a flower. By a woman. 8/10
Drained from all that time spent working on a single painting, DeFeo hit the skids career- and mental-health-wise. Following a long recovery, she taught at Mills College until her death from lung cancer in 1989. 6/10
After a couple of exhibitions in 1969, The Rose was deposited at the San Francisco Art Institute and then forgotten, hidden behind a wall where it deteriorated for years. Restored after DeFeo’s death, only now can it be expected to have its full influence. The same is true for the artist. 5/10
Arriving in New York in 1953, Johns fell in with a crowd that included John Cage, Merce Cunningham, and Robert Rauschenberg (his lover for eight years). Props for being openly gay and for bucking “serious art” (splashy abstraction) to paint ordinary things. Radical Rating: 9/10
In 1954, at the height of the Red Scare, Johns dreamed that he was painting the American flag. The next morning, he got out his brushes and claimed possession of one of the most contentious symbols of U.S. patriotism. Take that, Joe McCarthy. 9/10
Discovered early on by mega-dealer Leo Castelli, Johns quickly placed three pieces in the MoMA permanent collection. In 2010, one of his flag paintings sold for $28.6 million. He still works almost every day. 4/10
Johns’s artworks are among the most famous and influential of the 20th century. Eliminating the traditional distance between paintings and what they depict, his flags, maps, and targets are exactly what they appear to be. From pop to minimalism and conceptualism, artists are still sorting out the implications. 10/10
Jay DeFeo: A Retrospective and Jasper Johns: Seeing With the Mind's Eye, at SFMOMA (151 Third St) through Feb 3. Nonmember general admission: $18.