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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. -
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. -
DOCUMENT RESUME UD 031 738 Cultural Expressions. a Cultural
DOCUMENT RESUME ED 408 385 UD 031 738 TITLE Cultural Expressions. A Cultural Arts Education Program Featuring Assembly Programs, Close-Up Workshops and Special Engagements with Culturally-Based Artists. INSTITUTION Crossover Project, Aurora, CO. PUB DATE 96 NOTE 24p.; Additional support provided by a number of cultural and social organizations. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Cultural Awareness; Cultural Differences; Cultural Enrichment; *Curriculum Development; Dance; Elementary Secondary Education; Music; *Programs; Story Telling; Theater Arts; *Workshops IDENTIFIERS *Colorado (Denver) ABSTRACT The Crossover Project of the Aurora and Denver (Colorado) areas is a networking and resource nonprofit organization that delivers multicultural programs to attempt to create social transformation through the arts. The Project sets up an environment to support personal, group, neighborhood, community and social change through its educational, cultural, and neighborhood-organizing programs. This directory lists workshops and assembly programs offered through the Crossover Project to supplement or enhance a curriculum or occasion. The programs are grouped into the following categories:(1) dance;(2) music;(3) poetry;(4) storytelling; and (5) theater. A series of seven hands-on workshops called "Cultural Closeups" presented in one or two classes is also described. Each program description tells about the content and the artists performing. Three additional programs are described. The application form to arrange one of these programs is attached. (SLD) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** A CULTURAL ARTS EDUCATIONPROGRAM FEATURING ASSEMBLY PROGRAMS, CLOSE-UP WORKSHOPS,AND SPECIAL ENGAGEMENTS WITH CULTURALLY-BASED ARTISTS. PERMISSION TO REPRODUCE AND U.S. -
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 -
The 2021 Festival!
Welcome to the 2021 Festival! What’s happening: • 21 videos of stories recorded by our storytellers These can be watched on demand, anytime during the April 16-17 festival and for 30 days after. • Live (Zoom) workshops taught by our storytellers Come learn from the best! The workshops will occur at the times indicated in the schedule. Recordings will be posted afterward and can be viewed for up to 30 days after the festival, so if you miss something, you can catch up. • Live (Zoom) storytelling with our storytellers These performances will occur at the times indicated in the schedule. Recordings will be posted afterward and can be viewed for up to 30 days after the festival, so if you miss something, you can catch up. See the following pages for details. **************************************************************************** All of this is included with your festival ticket ($10 per household general admission; free for students and teachers) and can be viewed through the festival’s platform on ExpoPass. Registrants will be emailed a “magic link” to access the festival on April 16-17 and for 30 days afterward. To register, go to 2021 Georgia Mountain Storytelling Festival-new-format | RegForm.com. Questions? Email [email protected] Videos for Students Antonio Rocha: “Chicken and Crocodile” 15 minutes Adapted here by Antonio Rocha, this African animal tale is fun and full of antics and surprises. It teaches profound lessons that will help you turn your day into a beautiful living experience. This video is appropriate for all ages but is especially suited for younger viewers. Antonio Rocha: “Party in the Sky” 20 minutes Adapted by Antonio Rocha, this Brazilian animal tale is fun, sweet, and kind, and it teaches us the power of persevering while trying to overcome obstacles. -
Introduction To
Introduction to EXPLORING ANCIENT MEXICO INSPIRED BY THE EXHIBIT CERAMICS OF WESTERN MEXICO 1 HOW MAKE PICO DE GALLO Background AGES 7 and up In the Pre-Columbian era as today, salsa was made by utilizing ingredients commonly found in the SKILL LEVEL environment. Pre-Columbian salsas were made from Beginner (may need help from parents) squash, fruits, tomatoes, tomatillos, onions and spices. The exact recipe would be different depending on DESCRIPTION community and region. Salsas transformed through the For this project you and your family will be making fresh salsa called years. One of the famous salsas from Mexico is called Pico de Gallo. We are going to give you a simple recipe that you can Pico de Gallo. It has become a staple in Mexican cuisine. customize for future salsa making. Pico de Gallo translates directly as “Rooster Beak.” MATERIALS Although the origins of this name are unknown, there 2 Large Bowls Cilantro (½ bunch) are many theories as to where it came from. Many Spoon Knife believe that the name came from the way people ate it. Serrano Peppers (0-3)* Tomatoes (2-5) Fingers were used rather than utensils. This might mimic Onion (1) Salt / Pepper (to taste) the way a bird pecks at food. Another theory is that Cutting Board Other Peppers (0-3)* the salsa is called Pico de Gallo because the pieces are Lime / Lemon* (1-3) chopped to the size of bird feed. Whatever the name may mean, this salsa is delicious, simple to make, and Materials with an (*) are optional, use only if available customizable! ALTERNATIVE MATERIALS Remember this recipe can be customized. -
Rethinking the Role of Folklore in Museums: Exploring New Directions for Folklore in Museum Policy and Practice
Rethinking the Role of Folklore in Museums: Exploring New Directions for Folklore in Museum Policy and Practice A White Paper prepared by the American Folklore Society Folklore and Public Policy Working Group on Folklore and Museums Prepared by: Marsha Bol, C. Kurt Dewhurst, Carrie Hertz, Jason Baird Jackson, Marsha MacDowell, Charlie Seemann, Suzy Seriff, and Daniel Sheehy February 2015 2 Introduction The American Folklore Society’s working group on Folklore and Museums Policy and Practice has taken its cue from the growing number of folklorists who are working in and with museums to foster a greater presence for folklore in museum theory, practice, and policy. This work emerges from formal and informal conversations already underway among museum-minded folklorists. The Folklore and Museums Policy and Programs working group has been committed to synthesizing and extending these discussions through its activities and publications. Building upon past contributions by folklorists, the working group has held a series of regular phone conferences; a convening in Santa Fe in the fall of 2013 and a second convening in conjunction with the 2014 American Alliance of Museum’s Annual Meeting in Seattle; initiated a series of professional activities; conducted a series of sessions and tours related to folklife and museums for the 2014 American Folklore Society Meetings in Santa Fe; created a new Folklore and Museums Section of the Society; developed a working e-list of folklorists interested in a listserv on folklore and museums; and initiated or completed reports/publications to examine arenas where folklore can contribute to public and museum practice policies. A series of articles will be forthcoming on folklife and museums in Museum Anthropology Review (ed. -
Mexican Folk Art and Culture
Mexican Folk Art Mexican Folk Art Written and Designed by Nicole Mullen Based in part by the exhibition Tesoros Escondidos: Hidden Treasures from the Mexican Collections curated by Ira Jacknis, Research Anthropologist, Phoebe A. Hearst Museum of Anthropology. Object Photography: Therese Babineau Intern assistance: Elizabeth Lesch Copyright © 2004. Phoebe A. Hearst Museum of Anthropology and the Regents of the University of California. All rights reserved. This publication was made possible in part by a generous grant from the William Randolph Hearst Foundation. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY TABLE OF CONTENTS Mexico 4 Map 5 Ancient Mexico 6 The Spanish Conquest 8 The Mexican Revolution and Renaissance 10 Folk Art 11 Masks 13 Pottery 17 Laquerware 21 Clothing and Textiles 24 Baskets, Gourds and Glass 28 Female figurine. Made by Teodora Blanco; Toys and Miniatures 30 Santa María Atzompa, Oaxaca. Teodora Paper Arts 33 Blanco (1928-80) was a major Mexican folk artist. While in her late twenties she began Tin and Copper 35 to make her female figurines, for which she is best known. This pot-carrying figure wears Art of the Huichol 36 a Oaxacan shawl around her head. Oaxacan Woodcarving 38 Fireworks 39 Food 40 Day of the Dead 43 Vocabulary 47 Review Questions 48 Bibliography 50 3 MEXICAN FOLK ART PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Mexico Mexico is very diverse geographically. It is made up of fertile valleys, tropical forests, high mountain peaks, deep canyons, and desert landscapes. Clockwise: Pacific coast, south of Puerto Vallarta, Jalisco, 1996. Lake Pátzcuaro, as seen from Tzintzuntzan, Michoacán, 1996. -
The New York Times the Outsider Fair Made Art 'Big' Again
The Outsider Fair Made Art ‘Big’ Again By ROBERTA SMITH JAN. 19, 2017 One of Morton Bartlett’s half-size anatomically correct prepubescent girls from 1950. Morton Bartlett, Marion Harris New York’s Outsider Art Fair, which opened Thursday, is celebrating its 25th anniversary. It made its debut in 1993 in the 19th-century Puck Building in SoHo’s northeast corner. I saw the first iteration, reviewed the second and wrote about it many times after that. I enjoy most art fairs for their marathon-like density of visual experience and information, but the Outsider fair quickly became my favorite. It helped make art big again. An untitled painting by Henry Darger of his intrepid Vivian Girls. 2017 Henry Darger/Artists Rights Society (ARS), New York; Andrew Edlin Gallery The focus of the fair, according to its founder, Sanford L. Smith, known as Sandy, was the work of outsider artists, a catchall phrase for many kinds of self-taught creators. (Mr. Smith credited the phrase to Roger Cardinal, the art historian and author of “Outsider Art,” published in 1972.) Outsider work connoted a certain purity — an unstoppable need to make art that was unsullied by the “insider” art world, with its fine-art degrees and commercial machinations that always struck me as rather hoity-toity. Distinct from folk artists who usually evolved within familiar conventions, outsider artists often worked without precedent in relative isolation. They could be developmentally disabled, visionary, institutionalized, reclusive or simply retirees whose hobbies developed an unexpected intensity and originality. The term has long been the subject of debate, and its meaning has become elastic and inclusive. -
Public Events October 2018
Public Events October 2018 Subscribe to this publication by emailing Shayla Butler at [email protected] Table of Contents Overview Highlighted Events ................................................................................................. 3 Open House Chicago .............................................................................................. 4 Chicago Humanities Festival ................................................................................. 5 Year Long Security Dialogue ................................................................................. 8 Neighborhood and Community Relations Northwestern Events 1603 Orrington Avenue, Suite 1730 Arts Evanston, IL 60201 Music Performances ..................................................................................... 10 www.northwestern.edu/communityrelations Exhibits ......................................................................................................... 13 Theatre .......................................................................................................... 14 Film ............................................................................................................... 15 Dave Davis Arts Discussions ............................................................................................ 17 Executive Director [email protected] Living 847-491-8434 Leisure and Social ......................................................................................... 18 Norris Mini Courses Around Campus ARTica -
Folk Studies 561: Folk Art Fall Semester 2010, Monday 5:30-8:15
FOLK STUDIES 561: FOLK ART FALL SEMESTER 2010, MONDAY 5:30-8:15 Instructor: Timothy H. Evans Office: FAC 245 Office Hours: Monday 1-3, Tuesday 10-12, or by appointment Phone (207) 745-5897 (office) E-mail: [email protected] This graduate seminar is an interdisciplinary survey of the field of folk art studies. Drawing primarily on folk studies but also on anthropology, art history, literature, visual studies, cultural studies and other areas, the course will be an introduction to the study of visual arts within cultural context, while encouraging students to apply this knowledge in a variety of possible venues. The course is thematically organized but will also focus on matters of methodology, research and presentation of folk art. Lectures and discussions will be supplemented with films, field trips and other activities. COURSE REQUIREMENTS 1. Class participation (20% of final grade). In a graduate seminar, participation is the heart of the class. To participate, you will need to keep up with the readings. 2. Oral book review (10% of final grade). Not a detailed summary of the book, but a critical evaluation of the book’s purpose, scope, theoretical framework, and major arguments, using examples from the book. Approximately 15- 20 minutes. Reports may include handouts, slides, power point presentations, etc. 3. Semester project (40% of final grade: 10% for oral presentation, 30% for written paper). A research project involving fieldwork with folk art or artists. 1-2 page proposals are due 10/4, 20 minute oral presentations are 11/22 and 11/29, the final project is due 12/6.