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Darger, Henry (1892-1973) by Jim Elledge
Darger, Henry (1892-1973) by Jim Elledge Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2013 glbtq,Inc. Reprinted from http://www.glbtq.com Now considered one of the most original and important artists of the last half of the twentieth century, Henry Darger died completely unknown in his native Chicago. When he moved out of his one-room apartment on November 24, 1972 into an old folks home a few blocks away, his next door neighbor, who had been hired to clear out Darger's room, discovered over 300 canvases Darger had painted and the huge manuscripts of two novels and an autobiography that he had written. The canvases, which depict naked little girls with penises (who, in many of the paintings, are being eviscerated, strangled, and crucified by adults), became synonymous with the man, causing critics who were unaware of their relevance to the gay subculture of the time to call Darger a pedophile, child killer, and sadist. Darger's Life Darger was born into utter poverty on April 12, 1892. His mother died in childbirth when he was four. Within a few years, his father, a failed, alcoholic tailor, had all but abandoned his parental responsibilities to the boy. Growing up in one of the darkest and most desperate vice districts in Chicago, now Henry Darger. Photo by the much-gentrified Near West Side, Darger became involved in male-male sexual David Berglund, c. 1970. activities early in life, admitting to the most significant one in his autobiography decades later. In it, he reported that, by the time he was eight years old, he had developed a relationship with an adult guard whom he visited late at night at the lumberyard where the man worked. -
Interpreting the Assemblages of Lonnie Holley Through His Performative Explanations
INTERPRETING THE ASSEMBLAGES OF LONNIE HOLLEY THROUGH HIS PERFORMATIVE EXPLANATIONS Sarah M. Schultz A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of the Master of Arts in the Department of Art. Chapel Hill 2010 Approved by: Dr. John P. Bowles Dr. Bernard L. Herman Dr. Pika Ghosh Dr. Ross Barrett © 2010 Sarah M. Schultz ALL RIGHTS RESERVED ii ABSTRACT SARAH M. SCHULTZ: Interpreting the Assemblages of Lonnie Holley through his Performative Explanations (Under the direction of Dr. John P. Bowles) For the past three decades, Lonnie Holley has collected materials alongside highways, ditches and in the landfills near his home in Birmingham, Alabama. These objects are used as the raw material for his assemblages. His artistic combinations suggest new relationships between once familiar, now obsolete technologies such as old television sets, computer screens, electrical wiring, barbed wire fencing, rebar, and molded concrete. Interpretations of his work rarely go beyond recounting his extraordinary personal narrative as the seventh of twenty-seven children. This comes at the expense of an in-depth critical analysis of his material and the new relationships he creates in his assemblages. Through a critical analysis of three of his major works, The Inner Suffering of the Holy Cost, Little Top to the Big Top, and Cold Titty Mama I, this study explores how his materials are re-valued, or given new meaning when they are combined. iii ACKNOWLEDGEMENTS This thesis has benefitted from a wealth of perspectives. I am especially thankful for the patience of my advisors Dr. -
The Henry Darger Study Center at the American Folk Art Museum a Collections Policy Recommendation Report
The Henry Darger Study Center at the American Folk Art Museum A Collections Policy Recommendation Report by Shannon Robinson Spring 2010 I. Overview page 3 II. Mission and Goals page 5 III. Service Community and Programs page 7 IV. The Collection and Future Acquisition page 8 V. Library Selection page 11 VI. Responsibilities page 12 VII. Complaints and Censorship page 13 VIII. Evaluation page 13 IX. Bibliography page 15 X. Additional Materials References page 16 I. Overview The American Folk Art Museum in New York City is largely focused on the collection and preservation of the artwork of self-taught artists in the United States and abroad. The Museum began in 1961 as the Museum of Early American Folk Arts; at that time, the idea of appreciating folk art alongside contemporary art was a consequence of modernism (The American Folk Art Museum, 2010c). The collection’s pieces date to as early as the eighteenth century and in it’s earlier days was largely comprised of sculpture. The Museum approached collecting and exhibiting much like a contemporary art gallery. This was in support of its mission promoting the “aesthetic appreciation” and “creative expressions” of folk artists as parallel in content and quality to more mainstream, trained artists. (The American Folk Art Museum, 2010b). Within ten years of opening, however, and though the collection continued to grow, a financial strain hindered a bright future for the Museum. In 1977, the Museum’s Board of Trustees appointed Robert Bishop director (The American Folk Art Museum, 2010c). While Bishop was largely focused on financial and facility issues, he encouraged gift acquisitions, and increasing the collection in general, by promising many artworks from his personal collection. -
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS & PROGRAMMING for the 26TH EDITION of the NEW YORK FAIR January
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS & PROGRAMMING FOR THE 26TH EDITION OF THE NEW YORK FAIR January 18 – January 21, 2018 The Metropolitan Pavilion, 125 West 18th Street, New York Bill Traylor, untitled (detail), 1939-1942, charcoal on cardboard, 14" x 8", collection Audrey Heckler, photo by Adam Reich NEW YORK, NY – Wide Open Arts, the New York-based organizer of the Outsider Art Fair – the premier event championing self-taught art, art brut and outsider art – is excited to announce its exhibitors for the 26th edition, taking place January 18-21, 2018 at The Metropolitan Pavilion. The fair will showcase 63 galleries, representing 35 cities from 7 countries, with 10 first-time exhibitors. Coming off of a successful 5th edition of Outsider Art Fair Paris, which posted a 24% gain in attendance over the previous year, the 26th edition of the New York fair will continue to highlight the global reach of its artists and dealers, including: ex-voto sculptures unique to Brazil’s Afro-Indigenous-European culture at Mariposa Unusual Art; and a collection of works by self-taught artists from Africa, Latin America and the Caribbean at Indigo Arts. Korea Art Brut and Beijing’s Almost Art Project will make their OAF debuts, as will Antillean, who will present work by three Jamaican artists, each of whom use found materials to evoke shanty village life. Drawings by New Zealand’s Susan Te Kahurangi King will be the subject of a solo presentation at Chris Byrne and the sensational ceramic sculptures of Shinichi Sawada will be shown in New York for the first time at Jennifer Lauren Gallery. -
Accidental Genius
Accidental Genius Accidental Genius ART FROM THE ANTHONY PETULLO COLLECTION Margaret Andera Lisa Stone with an introduction by Jane Kallir Milwaukee Art Museum DelMonico Books Prestel MUNICH LONDON NEW YORK CONTENTS 19 FOREWORD Daniel T. Keegan 21 ACKNOWLEDGMENTS Margaret Andera 23 Art Brut and “Outsider” Art A Changing Landscape Jane Kallir 29 “It’s a picture already” The Anthony Petullo Collection Lisa Stone 45 PLATES 177 THE ANTHONY PETULLO COLLECTION 199 BIOGRAPHIES OF THE ARTISTS !" FOREWORD Daniel T. KeeganDirector, Milwaukee Art Museum The Milwaukee Art Museum is pleased to present Accidental Genius: the Roger Brown Study Collection at the School of the Art Institute Art from the Anthony Petullo Collection, an exhibition that celebrates of Chicago, for her insightful essay for this publication. the gift to the Museum of Anthony Petullo’s collection of modern A project of this magnitude would not have been possible self-taught art. Comprising more than three hundred artworks, the without generous financial support. The Milwaukee Art Museum collection is the most extensive grouping of its kind in any American wishes to thank the Anthony Petullo Foundation; Leslie Hindman, museum or in private hands. Thanks to this gift, the Milwaukee Art Inc.; the Einhorn Family Foundation; and Friends of Art, a support Museum’s holdings now encompass a broadly inclusive represen- group of the Museum, for sponsoring the exhibition. Tony Petullo tation of self-taught art as an international phenomenon. is a past president of Friends of Art, and he credits the group for Tony Petullo, a retired Milwaukee businessman, built his col- introducing him to collecting. -
Art-Related Archival Materials in the Chicago Area
ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest -
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS for ITS 27TH NEW YORK EDITION January 17 – January 20, 2019 the M
FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS FOR ITS 27TH NEW YORK EDITION January 17 – January 20, 2019 The Metropolitan Pavilion, 125 West 18th Street, New York Minnie Evans, Untitled (Three faces in floral design) (detail),1967, Crayon, graphite and oil on canvas board, 22.75×27.75 in. Artwork (c) Estate off Minnie Evans. Courtesy of Cameron Art Museum, Wilmington, N.C. NEW YORK, NY, November 28, 2018 – The Outsider Art Fair, the only fair dedicated to Self-Taught Art, Art Brut and Outsider Art, is pleased to announce the exhibitor list for its 27th New York edition, taking place January 17-20, 2019 at The Metropolitan Pavilion. The fair will showcase 67 exhibitors, representing 37 cities from 7 countries, with 8 first-time galleries. This year, OAF will host two of its hallmark Curated Spaces. Good Kids: Underground Comics from China will feature zines and original drawings created by Chinese artists. Co-organized by Brett Littman (Director, Noguchi Museum, New York) and Yi Zhou (partner and curator of C5Art Gallery, Beijing), these works deal with subject matter that is scatological, sexual, puerile and anti-conformist, making the distribution and sales of these work in mainland China complicated to almost impossible. A second Curated Space will serve as homage to the late dealer Phyllis Kind. In her obituary for the New York Times, Roberta Smith made this observation: “As the first American dealer to show outsider art alongside that of contemporary artists, Ms. Kind was in many ways as important as Leo Castelli…” Curated by Raw Vision Magazine senior editor and art critic Edward M. -
July 1, 2012–June 30, 2013 FY13: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum. -
View Exhibition Brochure
1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World. -
Appropriation Art Tate: Appropriation
Appropriation Art Tate: Appropriation https://www.tate.org.uk/art/art-terms/a/appropriation Appropriation! When Art (very closely) Inspires Other Art https://magazine.artland.com/appropriation-when-art-very-closely-inspires-other-art/#: ~:text=Beginning%20in%20the%201960s%20Richard,of%20the%20newly%2Dfamous %20masterworks. Sandra Cinto https://mymodernmet.com/sandra-cinto-encontro-das-aguas/ Marcel Duchamp https://blog.singulart.com/en/2020/05/14/lhooq-1919-marcel-duchamps-uncompromis ing-piece/ Jasper Johns + https://www.thecollector.com/pop-art-famous-iconic/ Richard Pettibone https://www.artsy.net/artwork/richard-pettibone-jasper-johns-flag-1955 A 10 Year Long Art History Course - Vincent Desiderio’s Cockaigne https://archive.nytimes.com/www.nytimes.com/ref/arts/design/01FINE.html?pagewant ed=all Diana Al-Hadid Plays the Classics https://youtu.be/McVvi4GVS6U CanadianArt | Dirty Words: Appropriation https://canadianart.ca/features/dirty-words-appropriation/ Protest Art Zimmerli Art Museum http://www.zimmerlimuseum.rutgers.edu/information/visitors#.YKFrNWZKg6A Wikipedia: Hi-Red Center https://en.wikipedia.org/wiki/Hi-Red_Center Guerrilla Girls https://www.guerrillagirls.com/ Wikipedia: Diamanda Galása https://en.wikipedia.org/wiki/Diamanda_Gal%C3%A1s Protesters Block, Demand Removal of a Painting of Emmett Till at the Whitney Biennial https://hyperallergic.com/367012/protesters-block-demand-removal-of-a-painting-of-e mmett-till-at-the-whitney-biennial/ Outsider Art 10 things to know about Jean Dubuffet https://www.christies.com/features/10-things-to-know-about-Jean-Dubuffet-8066-1.asp x The inside track on Outsider Art the artists to know https://www.christies.com/features/Outsider-Artists-Hot-List-7598-1.aspx#:~:text=First %20coined%20by%20the%20critic,of%20the%20mainstream%20art%20world. -
Annual Report Fiscal Year 2016 American Folk Art Museum July 1, 2015–June 30, 2016
ANNUAL REPORT FISCAL YEAR 2016 AMERICAN FOLK ART MUSEUM JULY 1, 2015–JUNE 30, 2016 The American Folk Art Museum received a grant from the Friends of Heritage Preservation to conserve a work by Thornton Dial. The conservation treatment was carried out by conservators Barbara Appelbaum and Paul Himmelstein, of Appelbaum & Himmelstein, LLC. They have decades of experience working on paintings, textiles, and folk art, including extensive work on the museum’s collection. The Friends of Heritage Preservation is a small, private association of individuals, based in Los Angeles, who seek to promote cultural identity through the preservation of significant endangered artistic and historic works, artifacts, and sites. AMERICAN FOLK ART MUSEUM COLLECTIONS AND EDUCATION CENTER 2 LINCOLN SQUARE, (COLUMBUS AVENUE BETWEEN 47-29 32ND PLACE, LONG ISLAND CITY, NY 65TH AND 66TH STREETS), NEW YORK, NY 11101-2409 10023-6214 212. 595. 9533 | WWW.FOLKARTMUSEUM.ORG [email protected] The Man Rode Past His Barn to Another New Day, Thornton Dial Sr. (1928–2016), Bessemer, Alabama, 1994–1995, oil and enamel on canvas with clothing, carpet, rope, wire, and industrial sealing compound, 84 x 120", gift of Jane Fonda, 2001.2.1. Photo by Gamma One. AMERICAN FOLK ART MUSEUM ANNUAL REPORT FISCAL YEAR 2016 WELCOME LETTER 2 Dr. Anne-Imelda Radice INTRODUCTION 3 Monty Blanchard DASHBOARD 4 EXHIBITIONS 6 LOANS AND AWARDS 16 PUBLICATIONS 17 EDUCATIONAL PROGRAMS 18 ADULT PUBLIC PROGRAMS 24 COLLECTIONS AND EDUCATION CENTER 28 MUSEUM CAREER INTERNSHIP PROGRAM 29 MEMBERS AND FRIENDS 30 FALL BENEFIT GALA 32 MUSEUM SHOP 33 NEW ACQUISITIONS 34 FINANCIAL STATEMENTS 40 DONORS, FOLK ART CIRCLE, AND MEMBERS 42 BOARD OF TRUSTEES 45 STAFF 46 IN MEMORIAM 48 Left: Photo by Christine Wise. -
Visual Art As a Window for Studying the Caribbean Compiled and Introduced by Peter B
Visual Art as a Window for Studying the Caribbean Compiled and introduced by Peter B. Jordens Curaçao: August 26, 2012 The present document is a compilation of 20 reviews and 36 images1 of the visual-art exhiBition Caribbean: Crossroads of the World that is Being held Between June 12, 2012 and January 6, 2013 at three cooperating museums in New York City, USA. The remarkaBle fact that Crossroads has (to date) merited no fewer than 20 fairly formal art reviews in various US newspapers and on art weBlogs can Be explained By the terms of praise in which the reviews descriBe the exhiBition: “likely the most expansive art event of the summer (p. 20 of this compilation), the summer’s BlockBuster exhiBition (p. 21), the big art event of the summer in New York (p. 15), immense (p. 34), Big, varied (p. 21), diverse (p. 10), comprehensive (p. 20), amBitious (pp. 19, 21, 22, 33, 34), impressive (p. 21), remarkaBle (p. 21), not one to miss (p. 30), wholly different and very rewarding (p. 33), satisfying (pp. 21, 33), visual feast (p. 25), Bonanza (p. 25), rare triumph (p. 21), significant (p. 13), unprecedented (p. 10), groundbreaking (pp. 13, 23), a game changer (p. 13), a landmark exhiBition (p. 13), will define all other suBsequent CariBBean surveys for years to come (p. 22).” Crossroads is the most recent tangiBle expression of an increase in interest in and recognition of CariBBean art in the CariBBean diaspora, in particular the USA and to less extent Western Europe. This increase is likely the confluence of such factors as: (1) the consolidation of CariBBean immigrant communities in North America and Europe, (2) the creative originality of artists of CariBBean heritage, (3) these artists’ greater moBility and presence in the diaspora in the context of gloBalization, especially transnational migration, travel and information flows,2 and (4) the politics of multiculturalism and of postcolonial studies.