The Rat Bastard Protective Association was an inflammatory, close-knit community of artists who lived and worked in a building they dubbed Painterland in the Fillmore neighborhood of midcentury San Francisco. The artists who counted themselves among the Rat Bastards—which included Joan Brown, Bruce Conner, Jay DeFeo, Wally Hedrick, Michael McClure, and Manuel Neri—exhibited a unique fusion of radicalism, provocation, and community. Geographically isolated from a viable art market and refusing to conform to institutional expectations, they animated broader social and artistic discussions through their work and became a transformative part of American culture over time. Anastasia Aukeman presents new and little-known archival material in this authorized account of these artists and their circle, a colorful cultural milieu that intersected with the broader Beat scene.
The resulting works established a dialogue between artists rather than seamless cooperation.
22 Big Orange (1954–55), a towering ten-foot painting of undulating Creamsicle orange and white, edged in black at the bottom, was purchased by Franz Meyer Sr., a lawyer, a collector of Cubist art, ...
Its informal exhibition space, established by Bruce Baillie in 1961, morphed into Canyon Cinema, an important avant-garde film distributor that created a supportive structure for moving-image work made by artists such as Bruce Conner, ...
... Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association, Berkeley: University of California Press, 2016; Rudolf Frieling, Bruce Conner: It's All True, exh. cat., San Francisco Museum of Modern Art, 2016. 8. Leo ...
... Exemplarity and Mediocrity: The Art of the Average from Bourgeois Tragedy to Realism (Stanford, CA: Stanford University Press, 2009), 165. Cary Levine, “Manly Crafts: Mike Kelley's (Oxy)Moronic Gender Bending,” ArtJournal 69, nos.
"This book is published by the San Francisco Museum of Modern Art on the occasion of the exhibition Bruce Conner: It's All True, co-curated by Stuart Comer, Rudolf Frieling, Gary Garrels, and Laura Hoptman, with Rachel Federman"--Colophon.
57 O'Neil's dehumanizing text has been widely reproduced in anthologies of Beat writing as emblematic of a middlebrow, conservative response to the movement's desire for personal, sexual, and economic liberation from Eisenhower-era ...
difficulties with LSD, producing an unsatisfactory portrayal in “Lysergic Acid” before being satisfied with his account of the drug in “Wales Visitation.” Drug use pushes subjectivity to its limits, and written accounts of drugs allow ...
... Art exhibition Sixteen Americans in 1959, and Jess had his first solo exhibition at Dilexi Gallery in 1959. 9 Anastasia Aukeman, Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association (Berkeley: University of ...
... Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association. Oakland, CA: University of California Press. Bell, C. (1997) Ritual: Perspectives and Dimensions. New York: Oxford University Press. Cohen, A. (ed.) (1991) ...