Books and Journals (Listed by Title)

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A The Accidental Masterpiece: On the Art of Life and Vice Versa. By Michael Kimmelman. New York: Penguin Press, 2005, 112–16, 118, 129–30.

After the Deluge: Essays on Art in the Nineties. Red Bass No. 16. By Robert C. Morgan. New York: Red Bass Publications: 1994, 26–27.

American Visionaries: Selections from the Whitney Museum of American Art. New York: Whitney Museum of American Art and Harry N. Abrams, 2002, 87.

Anamesa 13, no. 2. New York: New York University, Fall 2015;

Art History, 40 (5). London: Association of Art Historians, Nov. 2017, 1072-1097;
<>. Art in the San Francisco Bay Area: 1945–1980. By Thomas Albright. Berkeley: University of California Press, 1985, 53, 72, 92-95, 109, 137, 176, 271.

B Beat. By Christopher Felver. San Francisco: Last Gasp, 2007, 133.

The Beat Generation Galleries and Beyond. Edited by John Natsoulas. Davis, CA: John Natsoulas Press, 1996, 2, 104, 197, 203, 208, 218.

The Beats: A Graphic History. Edited by Paul Buhle. Text by Harvey Pekar et al. Art by Ed Piskor et al. New York: Hill and Wang, 2009, 171–74.

The Beat Scene. By Burt Glinn. London: Reel Art Press, 2018, 134–135, 137.

The Birth of the Beat Generation: Visionaries, Rebels, and Hipsters, 1944–1960. By Steven Watson. New York: Pantheon Books, 1995, 189, 190, 229.

C Le Cahiers du Musée national d’art moderne, 99. Edited by Jean-Pierre Criqui. Paris: Éditions du Centre Pompidou, 2007, 19–20.

Le Cahiers du Musée national d’art moderne, 107. Edited by Jean-Pierre Criqui. Paris: Éditions du Centre Pompidou, 2009, 38–51, 66, 70.

Chromaphilia. By Stella Paul. London: Phaidon, 2017, 213–215.

Collage: The Making of Modern Art. By Brandon Taylor. London: Thames and Hudson, 2004, 125–26, 128.

Capture. By David A. Kessler. New York: Harper Collins Publishers, 2016, 72–74.

A Companion to 20th-Century America. Edited by Stephen J. Whitfield. Blackwell Companions to American History. Malden, MA: Blackwell, 2004, 506.

Connecting Conversations: Interviews with 28 Bay Area Women Artists. Edited by Moira Roth. Oakland, CA: Eucalyptus Press, 1988, 43-49.

Creative America. By John F. Kennedy et al. New York: Ridge Press, National Cultural Center, 1962, 116.

A Creative Legacy: A History of the National Endowment for the Arts Visual Artists’ Fellowship Program 1966–1995. Edited by Adele Westbrook. New York: Harry N. Abrams, 2001, 171.

D Double-Barrelled Gun: Dada aux États-Unis (1945-1957). By Judith Delfiner. Paris: Le presses du réel, 2011, 24, 351-52, 399, 421, 424-27, 430-39, 459, 469, 471, 487, 491, 501, 506-508, 532-33, 569.

The Dream Colony. By Walter Hopps with Deborah Treisman and Anne Doran. New York: Bloomsbury, 2017, 50, 65, 68, 73, 79,173–74, 209.

F The Ferus Gallery: A Place to Begin. By Kristine McKenna. Göttingen, Germany: Steidl, 2009, 36-39, 103, 114, 117, 126, 156, 166, 192, 288.

Fifty Years of Bay Area Art: The SECA Awards. Edited by Alison Gass and Tanya Zimbardo. San Francisco: San Francisco Museum of Modern Art, 2011, 8-9, 158.

50 West Coast Artists: A Critical Selection of Painters and Sculptors Working in California. By Henry Hopkins, with photographs by Mimi Jacobs. San Francisco: Chronicle Books, 1981, 36–37.

G Greatest Works of Art of Western Civilization. By Thomas Hoving. New York: Artisan, 1997, 20–21.

J Jay DeFeo and “The Rose”. Edited by Jane Green and Leah Levy. Berkeley and New York: University of California Press and Whitney Museum of American Art, 2003.

Jay DeFeo: Works and Notes. By Christine Burgin and Marc Selwyn. New York: Christine Burgin and Los Angeles: Marc Selwyn Fine Art, 2016.

Jay DeFeo: Works on Paper. Edited by Bart Schneider. Berkeley: Kelly’s Cove Press, 2015.

Journal of Visual Culture, 5 (2). London: Sage Publications, 2006, 242–66.

The Judith Rothschild Foundation Contemporary Drawings Collection: Catalogue Raisonné. Edited by Christian Rattemeyer. New York: Museum of Modern Art, 2009, 115.

L Lighting the Corners: On Art, Nature and the Visionary—Essays and Interviews. By Michael McClure. Albuquerque: University of New Mexico Press, 1993, 186, 188–90.

Lines of Thought: Drawing from Michelangelo to Now. By Isabel Seligman. London: Thames & Hudson and The British Museum, 2016, 65, 72.

Local Color: The di Rosa Collection of Contemporary California Art. By Rene di Rosa et al. San Francisco: Chronicle Books, 1999, 88–89.

By Timothy Yarger, Kristine McKenna, and Colin Westerbeck. Los Angeles: 40 Artists, Photographs by Jim McHugh. Beverly Hills: Timothy Yarger Fine Arts, 2011, 54-55.

M The Modern Moves West: California Artists and Democratic Culture in the Twentieth Century. By Richard Cándida Smith. Philadelphia: University of Pennsylvania Press, 2009, 9-11, 64–65, 68–71, 73–97, 99–102, 107–9, 111–13, 118–22, 126–29, 194, 198, 207, 210.

Modern and Contemporary Art: The Lannan Collection at The Art Institute of Chicago. Museum Studies, vol. 25, no.1. Edited by Jeremy Strick. Chicago: Art Institute of Chicago, 1997, 6, 18–19, 89, 99.

Modernist Jewelry 1930–1960. By Marbeth Schon. Altglen, PA: Schiffer Publishing, Ltd., 2004, 136-7.

The Museum of Modern Art at Mid-Century: At Home and Abroad, Studies in Modern Art, no. 4. Edited by John Elderfield. New York: Museum of Modern Art, 1994, 78–83.

N National Trust Guide: San Francisco. By Peter Booth Wiley. New York: John Wiley & Sons, 2000, 316.

O “O Her Blackness Sparkles!” The Life and Times of the Batman Art Gallery, San Francisco 1960–1965. By Jack Foley. San Francisco: 3300 Press, 1996, v, xiv, 15, 34.

Obsession. By Lennard J. Davis. Chicago: University of Chicago Press, 2008, 195–99.

On Art and Artists: Essays by Thomas Albright. Edited by Beverly Hennessey. San Francisco: Chronicle Books, 1989, 43, 68–71.

P På Sporet av Beat-Bohemene (On the Tracks of the Beat-Bohemian). By Gerd Hennum. Oslo: H Aschehoug, 1998, 51, 182–83, 195–96.

Photography at MoMA: 1920–1960. By Quentin Bajac, et al. New York: Museum of Modern Art, 2016, 299, 347.

R Reading California: Art, Image, and Identity, 1900–2000. Edited by Setphanie Baron, Sheri Bernstein, and Ilene Susan Fort. Los Angeles and Berkeley: Los Angeles County Museum of Art and University of California Press, 2000, 44, 93, 95, 222, 230–36, 239, 243.

The Rise of the Sixties: American and European Art in the Era of Dissent. By Thomas Crow. London: George Weidenfeld & Nicolson, 1996, 28–29, 65. Reprint 2005, New Haven: Yale University Press.

S San Francisco Beat Art in Norway. By Frida Forsgren. Translated by Melissa Gjellstad. Oslo: Press Publishing, 2008, 12. 14, 34, 64, 80. 101, 103–4, 108–9, 120–31, 139, 156.

San Francisco Museum of Modern Art: The Painting and Sculpture Collection. San Francisco and New York: San Francisco Museum of Modern Art and Hudson Hills Press, 1985, 200–201, 230, 256, 291.

San Francisco Museum of Modern Art: 75 Years of Looking Forward. Edited by Janet Bishop, Corey Keller, and Sarah Roberts. San Francisco: San Francisco Museum of Modern Art, 2009, 145–46.

Secret Exhibition: Six California Artists of the Cold War Era. By Rebecca Solnit. San Francisco: City Lights Books, 1993, 18, 29, 46, 49–51, 55–56, 61, 68–69, 71, 75–80, 83, 105, 115–18.

Selections: The San Jose Museum of Art Permanent Collection. Edited by Susan Landauer. San Jose, CA: San Jose Museum of Art, 2004, 68-71, 252.

Sunshine Muse: Contemporary Art on the West Coast. By Peter Plagens. New York: Praeger, 1974, 25, 44, 45, 81. Revised 1999 as Sunshine Muse: Art on the West Coast, 1945–1970. Berkeley: University of California Press.

The Sweet Singer of Modernism and Other Art Writings 1985–2003. By Bill Berkson. Providence, RI: Qua Books, 2004, 170–83.

T Tate Papers no. 23. London: Tate, Spring 2015;

33 Texts: 93,614 Words: 581,035 Characters: Selected Writings (2003–2015). By Walead Beshty. Zurich: JPR|Ringier Kunstverlag AG, 2015, 257–269.

This Is Not To Be Looked At: Highlights from the Permanent Collection of The Museum of Contemporary Art, Los Angeles. Los Angeles: The Museum of Contemporary Art, 2008, 26, 360.

Twentieth-Century American Art. By Erica Doss. Oxford History of Art. Oxford: Oxford University Press, 2002, 150–51.

U Utopia and Dissent: Art, Poetry, and Politics in California. By Richard Cándida Smith. Berkeley: University of California Press, 1995, 86, 118, 162, 169–71, 189–201, 214, 492.

W Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association. By Anastasia Aukeman. Oakland: University of California Press, 2016.

Whitney Museum of American Art: Handbook of the Collection. Edited by Dana Miller. New York: Whitney Museum of American Art, 2015, 113-14.

The Wild Children of William Blake.By John Yau. Brooklyn: Autonomedia, 2017, 57–65.

Women of the Beat Generation: The Writers, Artists and Muses at the Heart of a Revolution. By Brenda Knight. Berkeley: Conari Press, 1996, 126, 216, 217, 320–25, 328.

Y Yourself in the World. By Glenn Ligon. Edited by Scott Rothkopf. New York and New Haven: Whitney Museum of American Art and Yale University Press, 2011, 148, 149, 150, 153.

Z Zyzzyva No. 104. Edited by Laura Cogan. San Francisco: Zyzzyva, Inc., 2015, 90-104.



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