FOR IMMEDIATE RELEASE OUTSIDER ART FAIR ANNOUNCES EXHIBITORS & PROGRAMMING for the 26TH EDITION of the NEW YORK FAIR January
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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. -
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. -
Teaching and Mentoring Experience
TEACHING AND MENTORING EXPERIENCE 2018 Parsons School of Design, Adjunct Professor, Graduate Advisor, Spring 2017 Parsons School of Design, Adjunct Professor, Graduate Advisor, Fall 2016 Parsons School of Design, Adjunct Professor, Graduate Advisor, Spring Parsons School of Design, Adjunct Professor, Fiber Arts, Undergraduate Program, Spring 2015 Parsons School of Design, Adjunct Professor, Graduate Advisor, Fall 2014 Parsons School of Design, Adjunct Professor, Core Studio 5, Spring 2013 Parsons School of Design, Adjunct Professor, Core Studio 5, Fall Parsons School of Design, Adjunct Professor, First Year Integrative Studio 1, Fall Parsons School of Design, Adjunct Professor, Core Studio 4, Spring Montclair State University, NJ, Visiting Artist/Graduate Advisor, Spring 2012 School of the Art Institute of Chicago, Chicago, IL, Graduate Advisor Interdisciplinary Projects, (2011 – 2012) Parsons School of Design, BFA Critiques, Fall Montclair State University, Montclair, NJ, Visiting Artist, Spring and Fall Designed and taught a course for undergraduate and graduate students in installation art. Working closely with students, I guided them through the management and production of a large scale installation. The piece was presented in Montclair, NJ at the Montclair Art Museum. 2010 Real Art Ways/The University of Hartford, Hartford, CT, Visiting Artist, Fall/Spring Designed and taught a course for undergraduate students in performance choreography. This course required students to participate in all aspects of the creative process of a performative project. The piece was presented at Real Art Ways in Hartford, CT. 2009 University at Buffalo, Buffalo, NY, Visiting Artist, Spring Designed and taught a course for undergraduate students in installation art and dance choreography. This course required students to participate in all aspects of the creative process of a performative project. -
The Studio Museum in Harlem Ma∂Azine/Summer 2008
Studio/ Summer 2008 The Studio Museum in Harlem Ma∂azine/ Summer 2008 SMH Board of Introducin∂ From the Director Trustees turin∂ Alani Bass , Mi∂uel Calderon, Target Free Cat Chow and Felicia Me∂∂inson; Chairman Sundays! StudioSound with Rich Medina; and Raymond J. McGuire See pa∂es Eye Notes, featurin∂ the work of Vice-Chair our youn∂est “artists in residence,” Carol Sutton Lewis 36–38! the hi∂h school participants of our Treasurer Expanding the Walls pro∂ram. Re∂inald Van Lee Secretary The Studio Museum in Harlem Ma∂azine / Summer 2008 Anne B. Ehrenkranz year, Leslie Hewitt, Tanea Richard- Gayle Perkins Atkins son and Saya Woolfalk ener∂ize the Jacqueline L. Bradley Museum’s ∂alleries (and the pa∂es Kathryn C. Chenault 02 What’s Up / Kehinde Wiley / R.S.V.P. / New Intuitions / A Portrait of the Artists / Eye Notes / Harlem Postcards / Gordon J. Davis of this ma∂azine) with their new work Susan Fales-Hill Four Decades 18 Projects on View / Rich Medina / Black is Beautiful 20 Upcomin∂ Exhibitions / Barkley L. Hendricks in New Intuitions. I am thrilled that In these pa∂es you will see addi- Dr. Henry Louis Gates, Jr. they share the ∂alleries this sum- tional excitin∂ features hi∂hli∂htin∂ Sandra Grymes 24 Feature / Allison Saar’s Swing Low 26 Elsewhere / Phantom Sightings / Salad Days / 1968: Then and Now / Yoruba / VanDerZee Mussenden Donna Courtesy / 1932 / Summer 2008 Studio mer with The World Stage: Africa, alumni of our foundational pro∂ram, Joyce K. Haupt A People’s Geography / Nicholas Hlobo / The 7th Gwan∂ju Biennale / RECOGNIZE! / The Poetics of Cloth / The Essential Lagos ~ Dakar, a solo exhibition by includin∂ Alison Saar (1983–84) and Arthur J. -
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. -
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. -
The Union College Chronicle
The Chronicle Encyclopedia of Cloud Divination by Saya Woolfalk “Embody,” the Mandeville Gallery’s fall exhibit, features 10 contemporary artists of diaspora who use collage-making concepts and methods to construct identity through a wide range of representations of the body. “These figures embody resistance, defying and challenging a one-dimensional reading of who the figure might be or what they represent,” says Julie Lohnes, director and curator of Art Collections and Exhibitions. The show runs through Jan. 19. There will be a reception in the Nott Memorial with a performance by exhibiting artist aricoco Tuesday, Sept. 24, 5-6:30 p.m. In addition, Simonette Quamina will give an artist talk on Tuesday, Oct. 8, 5- 6:30 p.m., also at the Nott. Both events are free and open to the public. Born and raised in Tokyo, aricoco (Ari Tabei) lives in New York City. She creates collages with fabric and assorted embellishments to construct garments she dons for performance art that explores the non-hierarchical system of social insects. She has been awarded numerous residencies and fellowships, including a New York Foundation for the Arts Artist’s Fellowship in interdisciplinary work. Quamina is a native of Canada who grew up in South America, the Caribbean and New York City. She weaves her diverse background into the narratives of her large-scale drawings, prints and collages. Her work is exhibited and collected nationally and internationally, and she has received numerous residencies and fellowships. She lives in New York and is an assistant professor of printmaking at the Eastern Connecticut State University. -
October 18, 2019 – February 2, 2020
October 18, 2019 – February 2, 2020 Nordhausen & Callaway Galleries ince 2006, Saya Woolfalk has been imagin- universe is populated by fragments, ideas, and forms ing and creating an alternative universe that uploaded to the ChimaCloud by people from around the combines science fiction, ceremonial ritual, world. The multi-media installation demonstrates the technology, identity, and art. This other uni- ChimaCloud’s various functions, most importantly how verse exists in the future and past simultane- it is accessed using custom headdresses built with S ously. Overall, Woolfalk’s ongoing project 3D-printed objects, colorful ceramic disks, and metal considers identities and influences across cultures, espe- mandalas. cially in relation to our contemporary world. Each muse- Woolfalk has reimagined the Callaway Gallery um that hosts one of the artist’s fantastical, immersive, as a ChimaTEK day spa. It features three stations that multi-sensory installations helps continue and expand foster mindfulness, guided meditation, and self-actual- the story of this fictional world. ization for visitors. With the help of directional prompts, Woolfalk’s alternative universe is inhabited by ChimaTEK’s Visionary Reality Outpost allows users to en- beings from the future called the No Placeans. Part hu- act their desires for a positive possible future. This instal- man and part plant, they can change gender and color. lation includes porcelain tiles that Woolfalk made during In Woolfalk’s narrative, a group of modern-day women an Arts/Industry residency at the Kohler Company facto- in Upstate New York stumbled on a set of No Placean ry in Wisconsin in 2018. bones covered in fungi. -
PERFORMING EMPATHIES the Art of Saya Woolfalk
PERFORMING EMPATHIES The Art of Saya Woolfalk by Nicole R. Fleetwood I’m always thinking about what are the potentials for the body. What can we be? Who could we be? Who could we become? —Saya Woolfalk For more than a decade, artist Saya Woolfalk has engaged with difference and rela- tionality as modes of becoming in various artistic projects. Known for her immersive installations of imaginary and futuristic worlds, Woolfalk’s practice is a labor intensive and meticulous process of cultivating characters, building and making material and cul- tural objects representative of these imagined worlds. These worlds are characterized by highly chromatic displays, skillful precision of matter and form, and the incorporation of media and live performance. The artist’s exploration incorporates utopian ideals, technocultural studies, racial dis- course, animacy, and ethnography; and yet, these frameworks combined do not adequately describe her imaginary landscape in works like No Placeans and The Empathics. While her art incorporates a range of materials and technology, embodiment and performance (often as play) are also central tools for the artist as she considers the possibility of what “we” can become through a radical aesthetic investigation of relationality, difference, and belonging. Thus, “we” is an operative and charged term in her art as various forms of embodied characters experiment with difference, separation, hybridity, and together- ness. Through sustained artistic investigation, Woolfalk explores how “we” conceptualize our relationship to each other through and across difference in the twenty-first century, simultaneously taking into account histories of differentiation. Woolfalk’s ongoing series on the Empathics, a hybrid life form—part human, part plant—is an elaborate exploration of these concepts. -
Monsters, and the Genetic Imagination Fairy Tales, Monsters, and the Genetic Imagination
Monsters, and the Genetic Imagination Fairy Tales, Monsters, and the Genetic Imagination This exhibition includes contemporary artworks inspired by fantastic stories in which the boundaries between human and animal are blurred. Whether in mythology, fairy tales, or science fiction, these stories and their wondrous characters are often thought of as children’s entertainment. But as the artists in this exhibition demonstrate, while the novelty of invented creatures makes them delightful or frightening, they also have a serious dimension; they can cause us to reconsider our notions of what it means to be human. This takes on a new immediacy today, when scientists are able to conceive new species by mixing and matching existing genetic material. For the artists in this exhibition, the hybrid body— whether imagined or potentially real—expresses hidden desires, ancient fears, the intrigue of transformation, and Fig. 1. Kate Clark. Bully, 2010 Cover: Patricia Piccinini. The Long Awaited, 2008 the wonderful irrationality of life’s paradoxes. Fairy Tales Many people feel spiritually, genetically, or emotionally linked to animals, finding in them mirrors of humanity. This connection is especially evident among young children and seen in the popularity of pets, cartoons, and stuffed toys. Children, of course, also love fairy tales, especially those with talking animals or people who take on the characteristics of the animals whose behavior most resembles their own— fearful people become jumpy like rabbits, sly people have fox-like eyes. But fairy tales are not just child’s play. They are sugar-coated life lessons, used to educate children about the ways of the world and to advise them of the consequences of thoughtlessness or bad behavior, which may include being eaten, molested, or carried away. -
Art Book Layout 1
The North Carolina State Bar Art Collection The North Carolina State Bar Art Collection Table of Contents Introduction...................................2 Henry, J.M. ...........................................40 Peiser, Mark .........................................86 Herrick, Rachel.....................................42 Powers, Sarah ......................................88 A Special Note of Gratitude ...........3 Hewitt, Mark........................................44 Saltzman, Marvin.................................90 Howell, Claude.....................................46 Sayre, Thomas......................................92 Irwin, Robert........................................48 Stevens, William Henry .......................94 Artists Jackson, Herb.......................................50 Tustin, Gayle.........................................96 Bearden, Romare...................................4 Johnson, Robert...................................52 Ulinski, Anthony...................................98 Beecham, Gary ......................................6 Johnston, Daniel ..................................54 Vogel, Kate (John Littleton)..................62 Bireline, George .....................................8 Kinnaird, Richard..................................56 White, Edwin .....................................100 Bradford, Elizabeth ..............................10 Kircher, Mary........................................58 Womble, Jimmy Craig II.....................102 Bromberg, Tina ....................................12 Link, Henry...........................................60 -
Art Production Fund's 24/7 Projection Series by Saya
ON VIEW AT THE STANDARD HOLLYWOOD: ART PRODUCTION FUND’S 24/7 PROJECTION SERIES BY SAYA WOOLFALK On November 23rd, The Standard, Hollywood and The Standard, Downtown LA unveiled Saya Woolfalk’s ChimaCloud as part of The Standard’s 24/7 Projection Series partnership with Art Production Fund. On view in The Standard, Hollywood lobby, Saya Woolfalk’s video ChimaCloud projects onto the wall as part of Woolfalk’s ongoing multi year projects entitled No Place, The Empathics, and ChimaTEK. For the film, Woolfalk created the world of the Empathics, a fictional race of technologically advanced women who are able to alter their genetic make-up and fuse with plants. With each body of work, Woolfalk continues to build the narrative of these women's lives, and questions the utopian possibilities of cultural hybridity. In ChimaCloud, a senior Empathic hovers in front of a kaleidoscopic meditation pool as she programs a digital skin for a new virtual body. The body is built to inhabit a space called the ChimaCloud, a virtual installation filled with signs and symbols from around the world. The installation is on display as part of The Standard, Hollywood’s Projection: 24/7 series shown in the lobby and on in-room dedicated TV channels at both The Standard, Hollywood and The Standard, Downtown LA. The Standard embraces artists through continued art installations and in past months, The Standard, Hollywood has featured Projection: 24/7 artists Flatform, Casey Legler, Shannon Plumb, C.T. Jasper, Rashaad Newsome, Klone, and more. ABOUT SAYA WOOLFALK Saya Woolfalk (Japan, 1979) is a New York based artist who uses science fiction and fantasy to re-imagine the world in multiple dimensions.