Duende: Artists Translating Spirits

ARTISTS TRANSLATING SPIRITS

DARTISTSUTRANSLATING E N DSPIRITSE

NEW YORK, NEW YORK

CAVIN-MORRIS GALLERY

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CZECH REPUBLIC ANONYMOUS ANGKASUPRA COCO FRONSAC ANTHONY HOPKINS CECILIE MARKOVA M’ONMA J.B. MURRAY NORMA OLIVER PAULINA PEAVY FRANTIŠEK JAROSLAV PECKA

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VERA HELEN BUTLER WELLS AGATHA WOJCIECHOWSKY ANNA ZEMÁNKOVÁ HENRITETTE ZÉPHIR

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Cavin-Morris Gallery is pleased to present Duende: Artists Translating Spirits. A duende

is a spirit often associated with flamenco dancing that rises up through the feet of dancers. It is also an embodiment of heightened creative and passionate receptivity and thus wonderfully apt for the artists in this exhibition, each of who makes art while in a trance state surrendering the hand to an otherworldly entity. Although some of the artists in Duende are mediums this is not the central premise of this exhibition. We looked specifically for artists who felt that their artworks were either authored by or in collaboration with entities from other planes of existence.

These artists are able to translate the existence of these entities into works of art not in memory but as part of an immediate sharing of experience.

Spiritualism belongs to the family of man. It is how many human beings attempt to communicate, based on their cultural backgrounds, with ancestors and others who have passed on in a cycle of life and death. I believe there is spiritualism and there is spiritualistic in much the same way there is animist and animistic, and shamanism and shamanistic. In the context of art then, and in this case Art Brut, a lot of art with esoteric content DESCRIBES the spirits but more rare are actual artworks that directly represent the touch of the spirit. The artist then becomes an intermediary between realms. The art is no longer spiritualistic but is an actual object of spiritualism itself.

We hear often that Art Brut focuses only on the work of psychologically damaged artists, but an examination of its history, both while founder Jean Dubuffet was alive and after his death, shows that there were many artists working in a visionary or spiritualistic mode included in this seminal collection. It was the Surrealists, personified mainly by Andre Breton who most extensively championed the mediumistic works. In fact, a major disagreement between Breton and Dubuffet centered on Breton not wanting the work to lose its mediumistic identity by being consumed in, and relabeled as ‘Art Brut’.

Spiritualism is found wherever the factors are that release it: from unbearable pain or grief to ecstatic joy, from numbing poverty to the privileged rich, from the cracking open of a mind in illness or the boundless glory of a spiritual calling. Art Brut may include work triggered by mental illness but only because illness can be one factor that spurs the release of the vision that releases the art.

We are now in a very important phase of this field’s organic development. The Collection de l’Art Brut in Lausanne has quietly begun including more international work, work that was not even a blip on the radar when Dubuffet was theorizing. Europeans and Americans tended toward spiritualism within the parameters of Judeo-Christian religion. A fraction of them are represented in this show, many in this particular exhibition from the Czech Republic. From the 19th Century through the present, the West has reflected upon its mortalities in the wars, including the American Civil War, by a firm connection to the idea of continuity between life and death.

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Although in the West there is a heavily Christian bias to Spiritualism, not all the world communicates with spirits ancestral and otherwise through the same method of membership or intellectual involvement with a Spiritualist group or Society. African American possession comes about when the spirit physically rides the participant in a form of ecstatic performance. Because of the intensity and the active physicality the performance becomes the art itself and should be seen as a grand version of such.

The African American work falls somewhere between the European and the Non-Western approach. On the one hand the major spirit manifests as the deeply Christian Holy Spirit, and on the other hand the cultural depth of the punning uses the Holy Spirit as a place to express the very American versions of the African spirits. JB Murray felt he was directly channeling the raw language of the Holy Spirit, although his intended purpose was to bring lost souls into the Church.

For this exhibition we chose two specific areas that interested us, one being the actual result of a visitation by a spirit being, and the other being the surrendering of the mind and body to an outside entity whereby the artist, often in a trance, produces two-dimensional artwork that seals the session. The artwork becomes a functioning record of their interaction but it is the process itself that contains the immediate power of the translation. These works are not made for the public, and are immediately intimate and private.

The artists in this exhibition mainly worked in the 20th century, but some of the artists are still alive and working today: M’onma was born in northern Japan, and Noviadi Angkasapura was born in Irian Jaya. M’onma surrenders to an entity that takes control of his hand for hours. He draws in a state of a waking trance until the entity leaves his body. Angkasapura, who grew up in animistic surroundings, was visited by a spirit who told him to make art to keep balance and sound moral judgment in his life. Every drawing he makes has the phrase ”KI RADEN SASTRO INGIL” which was given to him by the Spirit.

The earliest works in the exhibition are by František Jaroslav Pecka who made mediumistic drawings in the early 1920s in what is now the Czech Republic. The country has been a haven for Spiritualists as far back as the 19th Century, despite the political waves that have rolled over it. This is the first time his work has been exhibited since it was shown in Paris during the National Spiritist Congress in 1927.

We will be showing rarely seen early drawings by Anna Zemánková, who is joined by another Czech artist, Cecilie Marková, and an anonymous Czech artist who bears a strong visual kinship to Zemánková and Marková, despite working much earlier during the dark times of World War II. French artist Henriette Zéphir began drawing in 1941, submitting to the influence of spiritual forces that commanded her to draw as they instructed her. The intention of these drawings, 5

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first admired by Jean Dubuffet in 1945, were a complete mystery to Zéphir. Towards the end of her life she came to the realization that they were a translation of beneficial energetic forces that needed to find release in this plane.

Agatha Wojciechowsky came to America from Germany in 1923. Quite suddenly, in the 1950’s she began to paint and draw. Like Zemánková and Zéphir, her work appealed to Jean Dubuffet, and other expatriated surrealists in the United States. She said, in what has now become a familiar refrain, that her work was the result of different entities that directed her hand. She had nothing to do with it.

It is natural that much of the western aspect of spiritualist work came after the Civil War and then again between the two World Wars, as people desperately tried to come to terms with the massive numbers of family members and friends among the fatalities. The beginning of the 20th century was also a time where early studies of spiritualism and the paranormal were still tied to scientific investigation, in hopes that science could quantify and thereby legitimize the experience.

Helen Wells and Norma Oliver also worked in New York in the early part of the 20th century as high society mediums and founders of the Jansen Group, which summoned and drew upon spirits of the dead including Native Americans, enslaved people, aliens, and ancient Greeks. They both worked with named spirits to do very different types of drawings.

Paulina Peavy (American, 1901-1999) was a trained artist, who attended a séance in 1932 where she met a UFO named Lacomo. This force directed her brush, and became her co-painter.

Peavy made masks that she wore while painting to facilitate Lacomo’s flow of energy to her.

Lacomo shared the secrets of the universe with Peavy, including the belief that the future held an androgynous life for mankind, and humans would evolve into invisible spirits or UFO’s. The rest of her life was dedicated to the promotion of this worldview, and cosmos was the only subject of her art.

John Bunion (JB) Murray, who never learned to read or write, received and channeled the Holy Spirit when making his abstract yet specific drawings and by reading his asemic writing through a bottle of sacred water from his well. He was able to interpret the struggle of the Holy Spirit to save lost souls. We will be exhibiting his prayer-filled envelopes, long scrolls on adding machine tape, and other rarely seen art from the estate.

Other artists in the exhibition include Anthony Hopkins, who draws the spirit lights he sees emanating from plants, Coco Fronsac, who consciously plays off the trend of artistically falsifying spirit photos, a world wide trend in the late 19th and early 20th century, and Vera, about whom we know nothing (she may have been a child), who made a book of her communication with spirits.

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These are only a few of the artists that we have shown or could have shown in Duende. We felt this was a subject whose time has come with the renewed interests in Emma Kunz, Hilma Af Klint, and Georgiana Houghton. We chose the title Duende to make the spirit content active as it meets its human translator and creates a performance resulting in a spiritualist work of art.

- Randall Morris, Brooklyn, 2018

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Anna Zemรกnkovรก Slรกva a Prostota (Glory and Simplicity), 1966 Pastel, ballpoint pen on paper 33.07 x 23.23 inches 84 x 59 cm AZe 630

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Anna Zemรกnkovรก Untitled, Early 1960s Pastel on paper 34.65 x 24.41 inches 88 x 62 cm AZe 634

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Anna Zemรกnkovรก, Untitled, Early 1960s, Pastel on paper, 23.23 x 33.07 inches, 59 x 84 cm, A

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AZe 635

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Anthony Hopkins Fiery Fire (#172), 1999 Colored pencil on paper 6 x 8.25 inches 15.2 x 21 cm AH 79

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Anthony Hopkins Rainforest Lights 4 (#147), 1999 Colored pencil on paper 6 x 8.25 inches 15.2 x 21 cm AH 63

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Anthony Hopkins, Interplanetary Flames 2, 1999, Colored pencil on pa

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aper, 7 x 9.5 inches, 17.8 x 24.1 cm, AH 96

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Agatha Wojciechowsky Untitled, ca. 1963 Watercolor on paper 14.75 x 10.75 inches 37.5 x 27.3 cm (Framed) 25H x 18 in AW 539

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Agatha Wojciechowsky Untitled, ca. 1963 Watercolor on paper 14.5 x 10.75 inches 36.8 x 27.3 cm (Framed) 25H x 18W in AW 540

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Agatha Wojciechowsky Tornado, n.d.

Watercolor on paper 16.5 x 13 inches 41.9 x 33 cm AW 542

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Agatha Wojciechowsky Untitled, 1963 Watercolor on paper 11.75 x 8.875 inches 29.8 x 22.5 cm Signed AW 541

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Cecilie Markova Untitled, 1988 Pastel on paper 9 x 6 inches 22.9 x 15.2 cm CMa 1 24

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Cecilie Markova Untitled, 1990 Pastel on paper 12 x 8.5 inches 30.5 x 21.6 cm CMa 3 25

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František Jaroslav Pecka Untitled, circa 1924-1937 Colored pencil, graphite on paper 34.5 x 22.75 inches 87.6 x 57.8 cm FJP 2

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František Jaroslav Pecka Untitled, 02/16/1925 Colored pencil, graphite on paper 34.5 x 23.75 inches 87.6 x 60.3 cm FJP 7

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František Jaroslav Pecka Untitled, circa 1924-1937 Colored pencil, graphite on paper 35 x 23.5 inches 88.9 x 59.7 cm FJP 8

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Czech Republic, Anonymous Mediumistic Drawing, 11/9/1943, Crayon on paper, 8.66

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6 x 11.81 inches, 22 x 30 cm, Cze 33

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Czech Republic Anonymous Mediumistic Drawing LVIII, 1943 Graphite on paper 8.75 x 11.75 inches 22.2 x 29.8 cm Cze 17

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Czech Republic Anonymous Mediumistic Drawing XXX, 1942 Graphite on paper 8.75 x 11.75 inches 22.2 x 29.8 cm Cze 2

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Helen Butler Wells Spirit Drawing #64 - “ Ma, 1764”, n.d.

Graphite on paper 8 x 11 inches 20.3 x 27.9 cm HW 52

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Helen Butler Wells Spirit Drawing #99 - “Lane”, 1928 Graphite on paper 7.5 x 11 inches 19.1 x 27.9 cm HW 55

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Helen Butler Wells Spirit Drawing #60, Hernon Mosplaciados, c.1920 Graphite/paper 7.5 x 5.5 inches 19.1 x 14 cm HW 41

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Vera Untitled, n.d.

Pencil on paper 8 x 5 inches 20.3 x 12.7 cm Ver 43

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Vera Untitled, n.d.

Pencil on paper 3.25 x 5 inches 8.3 x 12.7 cm Ver 45

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Vera Untitled, n.d.

Pencil on paper 4.25 x 5 inches 10.8 x 12.7 cm Ver 3

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Vera Untitled, n.d.

Pencil on paper 8 x 5 inches 20.3 x 12.7 cm Ver 7

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Vera Untitled, n.d.

Pencil on paper 8 x 5 inches 20.3 x 12.7 cm Ver 8

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Vera Untitled, n.d.

Pencil on paper 7.75 x 5 inches 19.7 x 12.7 cm Ver 37

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Vera Untitled, n.d.

Pencil on paper 8 x 5 inches 20.3 x 12.7 cm Ver 38

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Vera Untitled, n.d.

Pencil on paper 8 x 5 inches 20.3 x 12.7 cm Ver 1

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Vera Untitled, n.d.

Pencil on paper 8 x 5 inches 20.3 x 12.7 cm Ver 42

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(front and back) Vera Untitled, n.d.

Pencil on paper 8 x 5 inches 20.3 x 12.7 cm Ver 21

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Vera Untitled, n.d.

Pencil on paper 8 x 5 inches 20.3 x 12.7 cm Ver 22

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Henriette ZĂŠphir, Untitled, 2009, Paint, ink and watercolor on paper, 15 x 22 inches, 38.1

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x 55.9 cm, HZe 13

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Henriette Zéphir Untitled, 2008 Ink on paper 20 x 15 inches 50.8 x 38.1 cm HZe 16

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Henriette Zéphir Untitled, 1982 India ink on paper 20.5 x 15 inc hes 52.1 x 38.1 cm HZe 17

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Henriette Zéphir, Untitled, 1995, Ink on paper, 14.5 x 21.5 inches, 36.8 x 54.6 cm, HZe 15

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J.B. Murray Untitled, c. 1978-1988 Tempera and ink on paper 24 x 18 inches 61 x 45.7 cm JBM 439

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J.B. Murray Untitled, c. 1978-1988 Tempera paint and marker on paper 18 x 12 inches 45.7 x 30.5 cm JBM 533

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(front and back) J.B. Murray Untitled, c. 1978-1988 Ink, marker on envelope 3.6 x 6.5 inches 9.1 x 16.5 cm JBM 493E

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J.B. Murray Untitled (17 envelopes), c. 1978-1988 Marker, ink on envelope 4.2 x 9.6 inches 10.7 x 24.4 cm JBM 498m

J.B. Murray Untitled (17 envelopes), c. 1978-1988 Marker, ink on envelope 4.2 x 9.6 inches 10.7 x 24.4 cm JBM 498n

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J.B. Murray Untitled (17 envelopes), c. 1978-1988 Marker, ink on envelope 4.2 x 9.6 inches 10.7 x 24.4 cm JBM 498o

J.B. Murray Untitled (17 envelopes), c. 1978-1988 Marker, ink on envelope 4.2 x 9.6 inches 10.7 x 24.4 cm JBM 498p

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J.B. Murray Untitled (17 envelopes), c. 19781988 Ink on envelope 4.2 x 9.6 inches 10.7 x 24.4 cm JBM 498q

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(front and back) J.B. Murray Untitled, c. 1978-1988 3.5 x 3.1 inches 8.9 x 7.9 cm JBM 506C

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J.B. Murray Untitled, c. 1978-1988 3.4 x 2.3 inches 8.6 x 5.8 cm JBM 506B

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(front and back) J.B. Murray Untitled, c. 1978-1988 2.25 x 5.5 inches 5.7 x 14 cm JBM 506a

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J.B. Murray Untitled (13 of 60), c. 1978-1988 Tempera, ink on paper 8.5 x 5.5 inches 21.6 x 14 cm JBM 500-13

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(front) J.B. Murray Untitled, c. 1978-1988 3.5 x 2 inches 8.9 x 5.1 cm JBM 506E

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(front and back) J.B. Murray Untitled, c. 1978-1988 3.9 x 2.3 inches 9.9 x 5.8 cm JBM 506D

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J.B. Murray Untitled, c. 1978-1988 Marker, ink on paper 5.63 x 4.02 inches 14.3 x 10.2 cm JBM 495e

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J.B. Murray Untitled, c. 1978-1988 Marker, ink on paper 5.63 x 4.02 inches 14.3 x 10.2 cm JBM 495d

ARTISTS TRANSLATING SPIRITS

J.B. Murray Untitled, c. 1978-1988 Marker, ink on paper 5.63 x 4.02 inches 14.3 x 10.2 cm JBM 495c

J.B. Murray Untitled, c. 1978-1988 Marker, ink on paper 5.63 x 4.02 inches 14.3 x 10.2 cm JBM 495b

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J.B. Murray Untitled, c. 1978-1988 Marker, ink on paper 5.63 x 4.02 inches 14.3 x 10.2 cm JBM 495a

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J.B. Murray Untitled, c. 1978-1988 Marker, ink on paper 5.63 x 4.02 inches 14.3 x 10.2 cm JBM 495f

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J.B. Murray Untitled, c. 1978-1988 Ink on Bible pages 4.3 x 2.7 inches 10.9 x 6.9 cm JBM 768

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J.B. Murray Untitled, c. 1978-1988 Ink, marker on paper 9.9 x 2.3 inches 25.1 x 5.8 cm JBM 769 85

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J.B. Murray Untitled (A-J), c. 1978-1988 Watercolor, ink on paper 8.5 x 2 inches 21.6 x 5.1 cm JBM 727H

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J.B. Murray Untitled (A-J), c. 1978-1988 Watercolor, ink on paper 8.5 x 2 inches 21.6 x 5.1 cm JBM 727E

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M’onma Untitled, 2005 Colored pencil on paper 17.4 x 12.6 inches 44.2 x 32 cm IMo 62

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M’onma Untitled, 2004 Colored pencil on paper 27.56 x 17.6 inches 70 x 44.7 cm IMo 63

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M’onma, Untitled, 2005, Pastel on paper, 13.78 x 18.9 inches, 35 x 48 cm, IMo 74 92

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Noviadi Angkasapura, Untitled, 2016, Ball point pen, graphite, paper, 9.5 x 1

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12.5 inches, 24.1 x 31.8 cm, NoA 223

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Noviadi Angkasapura Untitled, 2016 Ball point pen, graphite on paper 32.5 x 11.5 inches 82.6 x 29.2 cm NoA 248

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Noviadi Angkasapura Untitled, 2017 Ballpoint pen, marker on paper 12.25 x 9.5 inches 31.1 x 24.1 cm NoA 324

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Noviadi Angkasapura Untitled, 2017 Ballpoint pen, graphite on paper 16 x 12 inches 40.6 x 30.5 cm NoA 339

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 6.42 x 4.57 inches 16.3 x 11.6 cm CoF 5

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 7.01 x 4.49 inches 17.8 x 11.4 cm CoF 7

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Coco Fronsac Baby 2, Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 4.13 x 2.44 inches 10.5 x 6.2 cm CoF 15

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 3.35 x 2.32 inches 8.5 x 5.9 cm CoF 1

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Coco Fronsac, Spiritualist Photo Series, 1985/2010, ink and etching on vinta

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age photograph, 5.94 x 7.87 inches, 15.1 x 20 cm, CoF 6

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 10.24 x 7.87 inches 26 x 20 cm CoF 11

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 4.17 x 2.56 inches 10.6 x 6.5 cm CoF 4

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 4.17 x 2.56 inches 10.6 x 6.5 cm CoF 3

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 5.35 x 4.21 inches 13.6 x 10.7 cm CoF 18

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 5.51 x 3.54 inches 14 x 9 cm CoF 2

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 9.06 x 6.69 inches 23 x 17 cm CoF 17

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 13.39 x 10.55 inches 34 x 26.8 cm CoF 10

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Coco Fronsac Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 14.06 x 9.17 inches 35.7 x 23.3 cm CoF 12

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Coco Fronsac Baby 1, Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 4.13 x 2.48 inches 10.5 x 6.3 cm CoF 13

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Coco Fronsac Baby 2, Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 4.13 x 2.44 inches 10.5 x 6.2 cm CoF 15

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Coco Fronsac Baby 3, Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 4.13 x 2.48 inches 10.5 x 6.3 cm CoF 14

Coco Fronsac Baby 4, Spiritualist Photo Series, 1985/2010 Ink, etching on vintage photograph 4.17 x 3.82 inches 10.6 x 9.7 cm CoF 16

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(front and back) Norma Oliver Spiritual Portrait of Catherine Grant, 1950 Pencil, crayon/paper 11 x 8.5 inches 27.9 x 21.6 cm OL 6

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(front and back) Norma Oliver Spiritual Portrait of Joseph Korpanty, 1950 Pencil, crayon/paper 11 x 8.5 inches 27.9 x 21.6 cm OL 3

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(front and back) Norma Oliver Spiritual Portrait of Harriet Young, 1947 Pencil, crayon/paper 11 x 8.5 inches 27.9 x 21.6 cm OL 4

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(front and back) Norma Oliver Spiritual Portrait of Ruth McCallum Williams, 1950 Pencil, crayon/paper 11 x 8.5 inches 27.9 x 21.6 cm OL 5

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Norma Oliver Spirit Drawing, 1946 Colored Pencil, velvet fabric /paper 11 x 7.5 inches 27.9 x 19.1 cm OL 13

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Norma Oliver Strongly in Deed, 1947 Mixed media, collage/paper 10.5 x 8 inches 26.7 x 20.3 cm OL 14

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Norma Oliver, Untitled Portrait #32, 1950, Mixed media, collage/paper,8 x

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10.5 inches, 20.3 x 26.7 cm, OL 15

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Paulina Peavy Untitled, 1980 Mixed media on paper 20 x 15 inches 50.8 x 38.1 cm PPe 2 130

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Paulina Peavy Untitled, 1980 Watercolor, ink on paper 15 x 11.5 inches 38.1 x 29.2 cm PPe 1 131

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Paulina Peavy, Untitled, n.d., Mixed media, 8 x 8.5 x .5 inches, 20.3 x 21.6 x 1.3 cm, PPe 3 132

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Copyright © 2018 CAVIN-MORRIS GALLERY Cavin-Morris Gallery 210 Eleventh Ave, Ste. 201 New York, NY 10001 t. 212 226 3768 www.cavinmorris.com Catalogue design: Sophie Friedman-Pappas Photography: Jurate Veceraite Introduction contributed by Randall Morris 137

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