The Roses of Jay DeFeo and Bruce Conner: Belated Thoughts on Intermediality and Friendship
Bruce Conner’s 1967 short film, The White Rose, is an artifact of a particular place and time—Fillmore Street, San Francisco, one day in 1965—and a document of Conner’s friendship with the artist Jay DeFeo, painter of The Rose, the monumental painting at its center, which she labored over for eight...
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| Veröffentlicht in: | URI:https://journals.openedition.org/interfaces, |
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| Format: | Article ou chapitre numérique |
| Sprache: | Anglais |
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Interfaces
2023
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openedition-oai:revues.org:interfaces_6087 |
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openedition |
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openedition-oai:revues.org:interfaces_6087 https://doi.org/10.4000/interfaces.6087 urn:doi:10.4000/interfaces.6087 en https://journals.openedition.org/interfaces/6087 2023-01-23T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4iw https://creativecommons.org/licenses/by/4.0/ The Roses of Jay DeFeo and Bruce Conner: Belated Thoughts on Intermediality and Friendship Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Felleman, Susan peinture intermédialité film DeFeo (Jay) Conner (Bruce) White Rose (The) painting film intermediality DeFeo (Jay) Conner (Bruce) White Rose (The) Bruce Conner’s 1967 short film, The White Rose, is an artifact of a particular place and time—Fillmore Street, San Francisco, one day in 1965—and a document of Conner’s friendship with the artist Jay DeFeo, painter of The Rose, the monumental painting at its center, which she labored over for eight years, and which had to be removed by a team of professionals when she was forced to give up her apartment and studio. Intermediality is a central property of Bruce Conner’s oeuvre, reflecting the background as visual artist he brought to filmmaking, beginning with A Movie in 1958. The poignant film he made years later of his friend and her work may be his most narrative but it is also profoundly intermedial, capturing with a handheld camera as gestural as a paint stroke, in a few minutes, the irrevocable spaces, textures, activities, and losses of the day The Rose left home. Le court métrage The White Rose réalisée par Bruce Conner (1967) est une œuvre qui appartient à un lieu et une date déterminés – Fillmore Street, San Francisco, un jour de 1965 – mais c’est aussi un document sur l’amitié de Conner avec l’artiste Jay DeFeo, peintre de The Rose, et sur la peinture monumentale à laquelle DeFeo travailla pendant huit ans, et qui dut être retirée de son appartement par une équipe professionnelle lorsqu’elle fut contrainte d’abandonner sa résidence et son atelier. L’intermédialité joue un rôle central dans l’œuvre de Bruce Conner, reflétant son parcours d’artiste visuel qu’il a intégré dans son travail de cinéaste dès A Movie en 1958. Ce court métrage poignant réalisé des années plus tard sur son amie et son œuvre est peut-être le plus écrit de ses films, mais c’est un film aussi profondément intermédial, en ce que la capture d’images est faite caméra à l’épaule simulant le geste du pinceau manié par le peintre et aussi parce que ce très court film présente, en quelques minutes, les espaces irrévocables, les textures, les activités, et les pertes de ce jour où The Rose a quitté sa demeure. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
peinture intermédialité film DeFeo (Jay) Conner (Bruce) White Rose (The) painting film intermediality DeFeo (Jay) Conner (Bruce) White Rose (The) |
| spellingShingle |
peinture intermédialité film DeFeo (Jay) Conner (Bruce) White Rose (The) painting film intermediality DeFeo (Jay) Conner (Bruce) White Rose (The) Felleman, Susan The Roses of Jay DeFeo and Bruce Conner: Belated Thoughts on Intermediality and Friendship |
| description |
Bruce Conner’s 1967 short film, The White Rose, is an artifact of a particular place and time—Fillmore Street, San Francisco, one day in 1965—and a document of Conner’s friendship with the artist Jay DeFeo, painter of The Rose, the monumental painting at its center, which she labored over for eight years, and which had to be removed by a team of professionals when she was forced to give up her apartment and studio. Intermediality is a central property of Bruce Conner’s oeuvre, reflecting the background as visual artist he brought to filmmaking, beginning with A Movie in 1958. The poignant film he made years later of his friend and her work may be his most narrative but it is also profoundly intermedial, capturing with a handheld camera as gestural as a paint stroke, in a few minutes, the irrevocable spaces, textures, activities, and losses of the day The Rose left home. |
| author |
Felleman, Susan |
| author_facet |
Felleman, Susan |
| author_sort |
Felleman, Susan |
| title |
The Roses of Jay DeFeo and Bruce Conner: Belated Thoughts on Intermediality and Friendship |
| title_short |
The Roses of Jay DeFeo and Bruce Conner: Belated Thoughts on Intermediality and Friendship |
| title_full |
The Roses of Jay DeFeo and Bruce Conner: Belated Thoughts on Intermediality and Friendship |
| title_fullStr |
The Roses of Jay DeFeo and Bruce Conner: Belated Thoughts on Intermediality and Friendship |
| title_full_unstemmed |
The Roses of Jay DeFeo and Bruce Conner: Belated Thoughts on Intermediality and Friendship |
| title_sort |
roses of jay defeo and bruce conner: belated thoughts on intermediality and friendship |
| publisher |
Interfaces |
| publishDate |
2023 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.6087 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/6087 |
| _version_ |
1877292917213626368 |