Henry Darger Resource Kit

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

INTRODUCTORY MATERIALS

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

Designed for middle school and high school classrooms

Cover: Henry Darger (American, 1892-1973). Gigantic Roverine with Young All poisonous All islands of Universan seas and oceans. Also in Calverina Angelinia and Abbieannia, mid-twentieth century. Watercolor, pencil, and carbon tracing on pieced paper, 14 × 33 3/4” in. Collection American Folk Art Museum, New York, anonymous gift © Kiyoko Lerner, 2001.16.4, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York This page: Henry Darger (American, 1892-1973). 175 At Jennie Richee. Everything is allright though storm continues. (double sided) (detail), mid-twentieth century. Watercolor, pencil, 2 James carbon tracing, and collage on pieced paper, 24 × 108 ¼ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2001.16.2A, Photo Credit: Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

The Henry Darger Resource Kit for Educators The life and works of outsider artist Henry Darger offer a rich foundation for classroom discussion, creation and reflection.

Referencing his epic novel, fantastical works on paper and striking collages, the Henry Darger Resource Kit for Educators has been created to bring Darger into more classrooms than ever before.

In conjunction with our 2017 Chicago’s Henry Darger exhibition series, Intuit: The Center for Intuitive and Outsider Art is proud to present this free, accessible online resource as our newest educational initiative. Through this Kit, we invite you to explore outsider art’s power to reach all learners regardless of background, experiences or skill-level.

Intended for middle school through high school grade levels, all components within the Kit can be easily mixed and matched for maximum adaptability. The lesson plans offer flexible grade level suggestions and are designed to welcome further cross-disciplinary integration. Inspired by Darger’s hand-bound volumes of his epic novel The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion, the Kit also offers three step-by-step tutorials on how to bind books.

Thank you for sharing in our celebration of outsider art. To access additional educational resources and learn more about Intuit’s mission, visit www.art.org.

The Henry Darger Resource Kit for Educators is made possible by generous funding from the Terra Foundation for American Art. 3

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

Content

Introductory Materials

06 08 10 12 14 17 19 22 24

Foundational Lesson Plans

25 28 32

Outsider Art 101 (Middle School) Outsider Art 101 (High School) Henry Darger Biography (Middle School) Henry Darger Biography (High School) Intuit’s Henry Darger Room Collection Synopsis of In the Realms of the Unreal Historical Timeline Selected Exhibition History Essential Questions and Educational Considerations

Unreal Realms: Creating Mood and Environment Mixed Media Techniques: Portraying the Personal Constructing Gender Roles

Narrative Lesson Plans

35 38 42

Interpreting Identity: Current and Historical Narratives Exploring Safe Spaces and Scary Places Creating Empathy: Connecting Conflict with Resolution

Performative Lesson Plans

45 48 52

Animation: Life, its Challenges and Superheroes Who Come to the Rescue Imaginative Improvisation Presenting Shadow Puppets

Bookbinding Lesson Plans

56 Pamphlet-Stitch Bookbinding 62 66

Accordion-Style Bookbinding Portfolio-Style Bookbinding

Additional Resources

73 76

Lesson Plan Rubric Recommended Articles, Films and Books

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Development Team Project Coordinators

Curriculum Developers

Editorial Staff

Jane Castro School and Youth Programs Coordinator Intuit: The Center for Intuitive and Outsider Art

Annamaria Castellucci Cabral Visual Art Teacher The Ogden International School of Chicago

Debra Kerr Executive Director Intuit: The Center for Intuitive and Outsider Art

Joel Javier Education Manager Intuit: The Center for Intuitive and Outsider Art

Margaret Koreman Visual Art Teacher Franklin Fine Arts Center

Rob Lentz Arts and Disability Consultant Co-founder, Project Onward

Amanda Nadig Visual Art Teacher William Howard Taft High School

Illustrations

Stacey Shroyer Piotrowski Visual Art Teacher The Nettelhorst School

Annie Broutman @anniebrout www.anniebroutman.com

Consulting Scholars

Branding and Design

Michael Bonesteel Independent scholar, author, curator

Tim Bruce Lowercase, Inc. www.lowercaseinc.com

Melissa Smith Senior Manager of Learning and Engagement Intuit: The Center for Intuitive and Outsider Art Jerry Stefl Curriculum Expert Adjunct Associate Professor, Art Education, School of the Art Institute Chicago Education Chair, Intuit: The Center for Intuitive and Outsider Art

Jaimy Magdalena Mann Lecturer, Department of Race & Resistance, College of Ethnic Studies San Francisco State University Leisa Rundquist, PhD Associate Professor, Department of Art & Art History UNC Asheville

Photography John Faier www.johnfaier.com

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(Grades 6-8) Outsider Art 101 What is outsider art?

Intuit defines outsider art as “the work of artists who demonstrate little influence from the mainstream art world and who are, instead, motivated by their unique personal visions.”

The easiest way to understand what it means to be an outsider artist is to know how these artists are different from other artists you may have heard of or whose works you’ve seen before. What makes Henry Darger different from or the same as Andy Warhol or Pablo Picasso?

Willie White (American, 1908-2000). Untitled (Abstract squares), n.d. Mixed media. Collection of Intuit: The Center for Intuitive and Outsider Art, gift of Pat Boothby, 2003.10

First, outsider artists have no formal training—meaning they did not attend art school or have academic art instruction. Many of these artists are not aware of artwork in museums or art galleries. Their work is created outside of mainstream fine art. Outsider artists simply create for themselves, in order to make sense of their experiences, interests and the world around them. Outsider artists engage with their surroundings on their own terms and do not follow the rules of the art world.

Second, outsider art is created for the self and not necessarily for an audience. When we think of artists, we might picture someone who paints or sculpts with the intention to sell the art. There is no fault in this; in fact, it is how most artists make a living. Many outsider artists, however, do not create with the intention of selling their work. Usually, they do not worry about what other people are going to think of their work.

Third, outsider artists are often motivated to create their work for different reasons than mainstream artists. Outsider artists make art for themselves, recording their life experiences and documenting historical events. Many outsider artists are known as visionary artists. Some create art because they believe they have received a message from God or some other spiritual source. These artists have a strong inner vision and feel compelled to create their art. Often, the art is driven by impulse, obsession or religious inspiration.

Bill Traylor (American, 1853-1949). Untitled (Man leading black dog), ca. 1939-1942. Mixed media on board, 15 x 14 3/4 in. Intuit: The Center for Intuitive and Outsider Art, promised gift of Jan Petry and Angie Mills, P24.2004

Fourth, unlike many mainstream artists, outsider artists use non-traditional materials and found objects for their artwork. When visiting a museum, you will see hundreds of paintings on the walls that have been painted on a standard canvas with oil or acrylic paint. However, outsider artists tend to use non-traditional or repurposed materials particularly when they don’t have access to art supplies. Outsider artists often use materials from their immediate surroundings—like their house, yard and neighborhood.

They use objects that have been recycled or things we might throw away. The use of Donald Mitchell (American, b. 1951). Untitled, n.d.

Ink on paper, 22 x 26 in. Intuit: The Center for Intuitive and Outsider Art, gift of Creative Growth Art Center, 2004.6.1

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

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(Grades 6-8) Outsider Art 101, continued non-traditional or easily available materials is a frequent characteristic of outsider art.

While learning about outsider artists and looking at their work, consider what the artist might have been thinking or feeling when making their art. It is important to ask these questions: • Why did the artist choose to create this piece?

• How and why did the artist use the materials?

• What is the artist trying to communicate through the artwork?

• What is the message or story of the artist?

Through questions like these and interpreting the art, you can have a better understanding of what it means to be an outsider artist and get a sense of the cultural significance of the genre. For more information on how to analyze an artwork, please reference: www.terraamericanart.org/tools-for-teachers/discussing-art-and-common-core-anchor-standards.

Max Romain (American, b. 1930). Statue of Liberty, ca. 1997. Paint on paper, 25 x 19 in. Collection of Intuit: The Center for Intuitive and Outsider Art, gift of Aame Anton, 2010.8.2

Wesley Willis (American, 1963-2003). Downtown Cityscapes, ca. 1984. Ball-point and felt tip pen on cardboard, 20 x 30 in. Collection of Intuit: The Center for Intuitive and Outsider Art, gift of Paul Young and Margaret Fox Young, 2004.9

Joseph Yoakum (American, 1889-1972). Mt. Japvo peak in Himalaya Range, 1971. Colored pencil on paper, 19 x 11 7/8 in. Collection of Intuit: The Center for Intuitive and Outsider Art, gift of Martha Griffin, 2014.5.2 7

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

INTRODUCTORY MATERIALS

(Grades 9-12) Outsider Art 101 What is outsider art?

Intuit defines outsider art as “the work of artists who demonstrate little influence from the mainstream art world and who are, instead, motivated by their unique personal visions.”

The easiest way to understand what it means to be an outsider artist is to know how these artists are different from other artists you may have heard of or whose works you’ve seen before. What makes Henry Darger different from or the same as Andy Warhol or Pablo Picasso?

Willie White (American, 1908-2000). Untitled (Abstract squares), n.d. Mixed media. Collection of Intuit: The Center for Intuitive and Outsider Art, gift of Pat Boothby, 2003.10

First, outsider artists have no formal training—meaning they never went to art school or had any academic art instruction. Many of these artists are not aware of artwork in museums or art galleries. This means that their work is created outside of mainstream fine art. Outsider artists simply create for themselves, in order to make sense of their experiences, interests and the world around them. Outsider artists engage with their surroundings on their own terms and do not follow the rules of the art world.

Second, outsider art is created for the self and not necessarily for an audience. When we think of artists, we picture someone who paints or sculpts with the intention to sell their art. There is no fault in this; in fact, it is how most artists make a living. Outsider artists, however, usually do not create with the intention of selling their work. Outsider artists do not worry about what other people are going to think of their work. However, outsider artists sometimes sell their artwork when collectors and art dealers become interested in their art and then begin to collect and sell it on the open market.

Third, outsider artists are often motivated to create their work for different reasons than mainstream artists. Outsider artists make art for themselves, recording their life experiences and documenting historical events. Many outsider artists are known as visionary artists. Some create art because they believe they have received a message from God or some other spiritual source. These artists have a strong inner vision and feel compelled to create their art. Often, the art is driven by impulse, obsession or religious inspiration.

Fourth, unlike many mainstream artists, outsider artists use non-traditional materials and found objects for their artwork. When visiting a museum, you see hundreds of paintings on the walls that are painted on cotton or linen canvas with oil or acrylic paint and traditionally framed. However, outsider artists tend to use non-traditional or repurposed materials particularly when they don’t have access to traditional art supplies.

An outsider artist often uses materials from their immediate surroundings—like their

Bill Traylor (American, 1853-1949). Untitled (Man leading black dog), ca. 1939-1942. Mixed media on board, 15 x 14 3/4 in. Intuit: The Center for Intuitive and Outsider Art, promised gift of Jan Petry and Angie Mills, P24.2004

Donald Mitchell (American, b. 1951). Untitled, n.d.

Ink on paper, 22 x 26 in. Intuit: The Center for Intuitive and Outsider Art, gift of Creative Growth Art Center, 2004.6.1

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

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(Grades 9-12) Outsider Art 101, continued house, yard and neighborhood. They use objects that have been recycled or things we might throw away. The use of non-traditional or easily available materials is a frequent characteristic of outsider art.

While learning about outsider artists and looking at their work, consider what the artist might have been thinking or feeling when making their art. It is important to ask these questions: • Why did the artist choose to create this piece?

• How and why did the artist use the materials?

• What is the artist trying to communicate with their artwork?

• What is the message or story of the artist?

• How does the perception of outsider art shift when an outsider artist becomes part of the art world?

Max Romain (American, b. 1930). Statue of Liberty, ca. 1997. Paint on paper, 25 x 19 in. Collection of Intuit: The Center for Intuitive and Outsider Art, gift of Aame Anton, 2010.8.2

Through questions like these and interpretation of the work itself, you can have a better understanding of outsider artists’ unique motivations and gain insight into the cultural significance of the genre. For more information on how to analyze an artwork, please reference: www.terraamericanart.org/tools-for-teachers/discussing-art-and-commoncore-anchor-standards.

Wesley Willis (American, 1963-2003). Downtown Cityscapes, ca. 1984. Ball-point and felt tip pen on cardboard, 20 x 30 in. Collection of Intuit: The Center for Intuitive and Outsider Art, gift of Paul Young and Margaret Fox Young, 2004.9

Joseph Yoakum (American, 1889-1972). Mt. Japvo peak in Himalaya Range, 1971. Colored pencil on paper, 19 x 11 7/8 in. Collection of Intuit: The Center for Intuitive and Outsider Art, gift of Martha Griffin, 2014.5.2 9

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

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(Grades 6-8) Henry Darger Biography Henry Darger, 1892-1973 Henry Darger’s life was not a happy one. He lived alone and worked as a janitor or dishwasher during the day. However, at night his talents came out. Henry Darger was a gifted writer and artist. He is now known as one of the most famous outsider artists in history.

When Henry was four years old, his mother died giving birth to his sister. His sister was immediately put up for adoption. Four years later, his father became ill and couldn’t take care of him. Eight-year-old Henry was sent to a Catholic home for boys, the Mission of Our Lady of Mercy. The other boys at the home were not kind to Henry and called him “crazy.” Most likely because of behavioral problems, he was then sent to a place that treated all kinds of emotional and psychological disorders: an asylum for “feeble-minded children.” The asylum housed all kinds of children. Some children sent there were living with serious mental illnesses, some would be treated today with medication and some were probably there by mistake. In Darger’s case, his reason for being sent there is still

Henry Darger ca. 1970 Photo by David Berglund

Henry Darger’s belongings Photo by John Faier

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(Grades 6-8) Henry Darger Biography, continued unclear. It was during his time in the asylum that Henry learned his father had died. He tried to escape from the asylum multiple times before successfully running away around age 16.

Henry made his way back to Chicago. He got a job in a local hospital, where he worked and slept on site for 13 years. His routine varied little; he attended Catholic mass daily and continued to support himself as a janitor for the rest of his life. Eventually, he moved into a small rented room on Chicago’s North Side. It was during this time that Henry began writing his first novel which ultimately grew to be more than 15,000 pages long. This epic novel follows the adventures and battles of the seven Vivian sisters—little girls who lead the revolt against evil adults who have been enslaving children. The short title of this book is In the Realms of the Unreal. The full title is The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion.

Playthings Coloring Book Collection of Intuit: The Center for Intuitive and Outsider Art, Henry Darger Room Collection, HDRC71a

Darger worked on this book for a very long time, not only writing but illustrating many of the scenes in the book.

These illustrations were traced and collaged from popular coloring books, comics and newspapers of the time. The traced illustrations were then colored in with watercolors and sometimes finished with glued-on images. He bound seven volumes of the story and put the rest of the pages in folders for safe keeping.

He worked on these stories and illustrations for about 30 years (1910-1939). Afterward, he started writing his next novel Further Adventures in Chicago: Crazy House.

At the age of 80, Henry had a hard time walking up the stairs to his apartment. He agreed with his landlord’s suggestion to take him to a Catholic nursing home. Henry died there a few months later. When his landlord went into Henry’s apartment, he found a wonderful surprise. All of Henry’s writings, bound volumes and the amazing illustrations were stored within his apartment.

This was Henry Darger’s world. A world he invented and lived in every night.

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(Grades 9-12) Henry Darger Biography Henry Darger, 1892-1973 Henry Darger is one of the most important figures in the world of outsider art, but his significance was not realized until after his death. Darger’s life story is tragic from the start.

Near his fourth birthday, his mother died giving birth to his sister. The baby was immediately given up for adoption. Although Darger had no memories of his mother and baby sister, their absence affected him profoundly throughout his adult life.

Darger lived with his father, a tailor, who he described as “a quiet and easygoing man” until 1900. At that time, his father became ill and could no longer care for him. Henry was sent to a Catholic home for boys called the Mission of Our Lady of Mercy. From there, most likely because of behavioral problems, Darger was sent to the Lincoln Asylum for Feeble-Minded Children in Lincoln, IL. The asylum treated all kinds of emotional and psychological disorders. Some children sent to the facility were living with serious mental illnesses, some would be treated today with medication and some were probably misdiagnosed. In Darger’s case, his reason for being sent there is still unclear. Apparently, he was sent to the asylum because a doctor diagnosed that “little Henry’s heart is not in the right place.” While Henry was at the asylum, he learned his father had died.

Following multiple unsuccessful attempts at running away, Darger escaped from the asylum at age 16. After making his way back to Chicago, he found work as a janitor in a Catholic hospital, where he slept on site for 13 years. His routine varied little; he attended Catholic mass daily and continued to support himself with janitorial work for the rest of his life. Eventually, he moved into a small rented room on Chicago’s North Side. He lived there for 40 years, until he could no longer climb the stairs to his third-floor apartment.

Henry Darger ca. 1970 Photo by David Berglund

Henry Darger’s belongings Photo by John Faier 12

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(Grades 9-12) Henry Darger Biography, continued At the age of 80, his landlord moved him into the Little Sisters of the Poor Catholic Mission, a nursing home where he died six months later.

It was not until the contents of Darger’s room were examined that his landlord discovered Darger’s secret life as a brilliant author and artist. Starting around 1911, Darger had begun writing The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion. This manuscript consisted of more than 15,000 single-spaced typewritten pages.

Significant accompaniments to the book are large scenes on paper (some six feet or longer), maps and flags Darger created to help illustrate the story. These illustrations are filled with complex battle scenes and explosive storms painted with rich, sublime color.

The figures in his illustrations are traced from comics, coloring books and magazines from the period, using images he had photocopied and enlarged at the local drugstore for correct scale. Darger’s idea to alter the scale of images was a technological innovation for the time. The process was not well known and cost money (most likely using a large percentage of his income as a member of the working poor).

Playthings Coloring Book Collection of Intuit: The Center for Intuitive and Outsider Art, Henry Darger Room Collection, HDRC71a

Events throughout Darger’s life provide important context to his visual and written work. His obsession with orphaned girls, a major theme throughout his life, points to his love of children’s literature and perhaps to the loss of his baby sister. Other than Darger’s personal connections to orphaned children, there were many popular cultural examples of orphans in Darger’s lifetime. Comics, films and works of literature starred orphan protagonists. Darger’s book collection included Heidi, 14 Oz books by L. Frank Baum and comics such as Little Orphan Annie and Little Annie Rooney. Additionally, several items found in Darger’s apartment revealed his admiration for child actress Shirley Temple. These items included: a reproduction of a signed Shirley Temple photograph, two copies of an illustrated book about her life and an article from her adulthood.

Darger may have witnessed a tornado as a young man, an event that became source material for the turbulent skies in his illustrations.

Furthermore, the time spent in the Catholic boys home and in the asylum certainly affected him. The asylum had a history of physical and sexual abuse scandals. While we will never know if Darger experienced, witnessed or heard of any alleged abuse, it is clear from his work that Darger sees himself as an advocate for innocent, yet brave, children in a cruel world.

Some years after Darger’s death in 1973, the contents of his apartment were organized in an exhibition mounted at the Hyde Park Art Center, Chicago, in 1977. It was titled Realms of the Unreal: The Work of Henry Darger. Since then, interest in his work has increased tremendously. The work has been exhibited all over the world. At Intuit, Darger’s room has been recreated with artifacts from his apartment and is on permanent display as the Henry Darger Room Collection. For more information about where and when Darger’s work has been exhibited, please reference the Selected Exhibition History Timeline (pp. 22-23).

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Intuit’s Henry Darger Room Collection The Henry Darger Room Darger was shy and reclusive, so it was not until he became ill and was moved to a Catholic mission nursing home that his landlords, Nathan and Kiyoko Lerner, learned of the treasure trove inside his former home. In the ensuing years, visitors flocked to the apartment to view the artist’s work and to see how he lived.

His apartment was a small room, darkened by years of soot from a coal-burning fireplace. Inside the room, there was an oak table crammed with what looked like thousands of watercolor paint boxes, watercolors in open pots, coloring books and paint brushes.

The space was full of cardboard boxes and cigar boxes holding used pencils and crayons. Stacked around the room were piles of newspapers, magazines, books and phonograph records on shelves, on the floor and on the table.

Intuit’s Henry Darger Room Photo by John Faier

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Intuit’s Henry Darger Room Collection, continued In the midst of the clutter sat the Remington typewriter, one of several with which Darger wrote the 15,145-page epic, The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the GlandecoAngelinian War Storm, Caused by the Child Slave Rebellion.

Many of Darger’s works on paper are now in the hands of collectors and museums.

His manuscripts are part of the collection of the American Folk Art Museum in New York City. In January 2008, Intuit: The Center for Intuitive and Outsider Art opened the Henry Darger Room Collection at 756 North Milwaukee Avenue in Chicago. While this exhibition is not an exact replica of Darger’s original living situation, it evokes a feeling for how the artist lived and worked all those years in his room at 851 West Webster Avenue.

The contents of Intuit’s Henry Darger Room Collection came from Darger’s actual apartment.

“The feeling you got when you went into the room was that the clutter was overwhelming! It wasn’t anything you would expect...there was a tremendous amount of stuff...Newspapers and magazines piled in bundles...If there was one pair of glasses there must have been two hundred.

Rubber bands, boxes of rubber bands.

Shoes, lots of shoes. But you went into the room and it was organized. There was this path through the room. It leads from the door, to the desk, to the bed, and around in back. Everything was just piled and piled and piled. The table was cluttered to a depth of two to three feet, except for a working area... That was the feeling that you had, just the tremendous amount of time and energy that had been poured into that room.”

Quote from John MacGregor’s interview with David Berglund John MacGregor, Henry Darger: In the Realms of the Unreal, New York: Delano Greenidge Editions, 2002. p. 79.

Darger’s watercolors and selected source materials Photo by John Faier

Darger’s watercolors and selected source materials Photo by John Faier 15

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Intuit’s Henry Darger Room Collection, continued Amongst the clutter of Darger’s apartment, there were incredible discoveries: • A 15,145-page single spaced, typewritten novel, In the Realms of the Unreal, found in 14 large volumes, seven of which were hardbound. It was written between 1910 and 1939.

• An 8,500-page sequel to In the Realms of the Unreal, entitled Further Adventures in Chicago: Crazy House, written between 1939 and the mid to late 1940s.

• A 5,084-page, eight-volume, typewritten autobiography, entitled The History of My Life, which included accounts of his childhood experiences, his three months in the army, his view of the weather as a force of good or evil, and a very descriptive tale of witnessing a tornado that obliterated a town in Illinois. Whether or not Darger actually witnessed the tornado, he devoted 4,878 pages of the book to describing his account of a tornado, which Darger referred to as “Sweetie Pie.” • Six weather journals, entitled Weather Reports of Cold and Warm, Also Summer Heat and Cold Spells, Storms and Fair or Cloudy Days, Contrary to What the Weatherman Says and Also True Too, covering exactly 10 years, from December 31, 1957, to December 31, 1967. Darger updated the journals daily with his observations then compared these observations with the weatherman’s daily predictions.

• Over 300 illustrations—everything from small works on paper to 12-foot-long mural-sized artworks—often painted on both sides.

He usually combined smaller sheets of paper to make a continuous larger surface for his scenes. There were also three hand-bound books containing Darger’s works on paper.

Nathan Lerner (1913–1997) and David Berglund (1941–2008). Untitled (Henry Darger’s Room), Chicago, c. 1970s (after 1973). Black-and-white photograph. 10 x 8 in.

(2003.7.268). Photo: © Kiyoko Lerner Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

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In The Realms Of The Unreal Synopsis Henry Darger’s novel, The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion, is a story full of wars, heroes, villains and otherworldly creatures. Darger’s 15,145-page single spaced typewritten story centers on the seven heroic Vivian sisters. Its long title is often abbreviated to In the Realms of the Unreal.

Henry Darger (American, 1892-1973). In the Realms of the Unreal, mid-twentieth century. Mixed media. Collection American Folk Art Museum, gift of Kiyoko Lerner, 2004.1.4, Photo Credit: Gavin Ashworth © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

For the length of the novel, the seven little girls crusade against the cruel Glandelinian adults. The Glandelinians have been taking children away from their loving families and putting them into factories or prisons for more than 40 years. As slavery and torture continue, In the Realms of the Unreal brings readers to a newly declared war on the home of the Glandelinians: the land of Glandelinia.

Amid all of the evil faced by the seven Vivian girls, another force of good eventually joins them in their fight. The Blengiglomenean serpents (or Blengins, for short) are gigantic, dragon-like creatures that have the wings of a butterfly and the heads and arms of reptiles, cats, dogs, eagles or humans. These Blengins act as guardians to the children of the Realms and help them fight the evil Glandelinians.

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In The Realms Of The Unreal Synopsis, continued Later in the novel, the Blengins grow to resemble fairy-like creatures with the bodies of little girls with wings and horns.

Ultimately, through the Blengins’ help, the Glandelinians surrender and the Vivian girls convert the most evil Glandelinian villain in order to save his soul.

The villains of the tale include the Vivian girls’ archenemy General John Manley and the traitorous brother of the girls Germania Vivian. Darger himself even makes a few appearances, either as the author adding narration or as a character.

Some of the names he appears by are Captain Henry Darger of the Angelinian National Guard, Henry Darger, war correspondent, and Hendro Dargar, head supreme person of the Gemini Society of Master Spies.

Historically, Darger’s novel is one of the longest pieces of narrative prose ever written in English. The book begins with a summary of the entire saga and then evolves into an in-depth, detailed account of battles. Seven of the book’s 14 volumes were bound by Darger.

Henry Darger’s Typewriter Photo by John Faier

Throughout the book, different sources, such as newspaper articles, the World Wars, and novels such as Uncle Tom’s Cabin and The Wonderful Wizard of Oz, are evident as inspiration. However, the story itself is unique and originally Darger.

Darger says it best in his introduction to In the Realms of the Unreal: “The description of the great war and its following results is perhaps the greatest ever written by an author, on the first line of any fabulous war that could ever be titled with such a name.”

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Historical Timeline The following timeline includes the personal history of Henry Darger interwoven into the larger contexts of popular culture and Chicago History.

1892......................The Chicago and South Side Rapid Transit Railroad, Chicago’s first ‘L’ train, goes into operation.

1892......................Henry Darger is born in Chicago at 350 W. 24th Street.

1893......................The World’s Columbian Exposition is held.

1894......................The Pullman Strike disrupts national railroad traffic and begins a turning point for United States labor law.

1896......................Darger’s mother dies in childbirth only days before Darger’s fourth birthday; Darger’s baby sister survives but is

given up for adoption.

1897......................The Union Loop Elevated (commonly known as The Loop) is completed.

1900......................Darger’s father, unable to care for him, relocates Henry to the Mission of Our Lady of Mercy, 1138 W. Jackson

Boulevard (nicknamed Newsboys’ Home by Darger).

1900......................L. Frank Baum’s novel The Wonderful Wizard of Oz is published.

1903......................The Iroquois Theater Fire results in over 600 fatalities.

1904...................... Riverview Park opens in Chicago’s North Side.

1904......................Darger is sent to the Lincoln Asylum for Feeble-Minded Children in Lincoln, Illinois.

1906......................Upton Sinclair’s The Jungle is published.

1908......................Darger is 16 when his father dies.

1908......................After multiple attempts to run away, Darger successfully escapes from the Lincoln Asylum for Feeble-Minded

Children in Lincoln, IL.

1909-1922...........Darger works at St. Joseph’s Hospital in Chicago as a janitor.

1909......................Daniel Burnham’s Plan of Chicago is presented.

1910......................The Frederick C. Robie House, designed by architect Frank Lloyd Wright, is completed.

1910......................Around the age of 18, Darger begins to write In the Realms of the Unreal.

1911......................A young Chicago girl named Elsie Paroubek is missing and found murdered; it is thought that she is the model for

Annie Aronburg, the martyr of the child-slave rebellion from In the Realms of the Unreal.

1914......................Archduke Franz Ferdinand of the Austro-Hungarian Empire is assassinated in Sarajevo, beginning the timeline of

World War I.

1915......................The S.S. Eastland rolls over causing 844 fatalities.

1916...................... Darger begins to type In the Realms of the Unreal.

1917...................... Darger is drafted into the army and is honorably discharged three months later.

1918...................... Fighting in World War I ends following the signing of an armistice between the Allies and Germany.

1919...................... The Chicago Race Riot of 1919 erupts from escalating racial frictions.

1920...................... The Women’s suffrage amendment passes U.S. Congress and is ratified giving American women the right to vote.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

INTRODUCTORY MATERIALS

Historical Timeline, continued 1922-36................ Darger works as a dishwasher at Grant Hospital. He makes many of his drawings and probably writes most of

In the Realms of the Unreal.

1923...................... Darger moves into his first apartment at 1035 W. Webster Ave. 1929......................A group of unarmed bootlegging gang members are murdered by members of the Al Capone gang during the

St. Valentine’s Day Massacre.

1931......................Darger moves to 851 W. Webster Ave. 1932......................Darger begins binding the first seven volumes of In the Realms of the Unreal.

1933......................Century of Progress World’s Fair is held.

1934......................Child actress Shirley Temple’s first feature film Little Miss Marker is released.

1936-47................Darger returns to work at St. Joseph’s Hospital.

1937......................The film Heidi is released in which child actress Shirley Temple stars as an orphaned young girl.

1939......................The Wizard of Oz film, based on the writings of L. Frank Baum, is released.

1939......................World War II begins after Hitler invades Poland.

1939......................Darger begins writing Further Adventures in Chicago: Crazy House, a sequel to In the Realms of the Unreal.

1940s....................Darger begins to create his large scale drawings.

1942......................Italian-born physicist Enrico Fermi directs the first self-sustaining controlled nuclear chain reaction in his laboratory

at the University of Chicago.

1943......................Chicago’s first subway opens. mid-1940s.............Darger’s only known friend, William Schloeder, moves away.

1945......................World War II ends when US General Douglas MacArthur accepts Japan’s surrender.

1945......................Ebony Magazine begins publication.

1947......................Darger leaves St. Joseph’s Hospital and begins working at Alexian Brothers’ Hospital.

1948......................Chicago Sun-Times begins publication.

1950......................Chess Records is founded.

1955......................The first McDonald’s franchise restaurant opens in the Chicago suburb of Des Plaines.

1957-67................Darger writes six weather journals from his daily observations.

1959......................Second City Theater opens.

1959......................Nathan Lerner becomes Darger’s landlord.

1963......................Darger retires.

1966......................Darger begins an autobiography, The History of My Life.

1966......................Martin Luther King Jr. marches in Chicago.

1967......................Chicago blizzard of 1967 occurs.

1967......................The Picasso public art installation is dedicated in Daley Plaza.

1967...................... Riverview Park closes.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

INTRODUCTORY MATERIALS

Historical Timeline, continued 1969......................Black Panther Fred Hampton is assassinated.

1972......................Nathan and Kiyoko Lerner move Darger from his apartment at Webster Avenue to St. Augustine’s Home for the Aged.

When he leaves his apartment, Darger leaves the contents of his room to his landlords.

In the process of cleaning out the room, large amounts of what is considered to be trash is discarded before Darger’s

writings, visual works and studio supplies are discovered.

1973......................Sears Tower is completed (the tallest building in the world for the next 30 years).

1973......................Henry Darger dies and is buried in All Saints Cemetery in Des Plaines, Illinois, in a plot called “The Old People of

the Little Sisters of the Poor.”

1996......................Nathan and Kiyoko Lerner had a grave marker made and installed, marking Henry Darger’s final resting place and

identifying him as “Artist, Protector of Children.”

A Century of Progress, I Will, Come! Chicago World’s Fair postcard Courtesy Curt Teich Archive, The Newberry Library, Chicago 21

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

INTRODUCTORY MATERIALS

Selected Exhibition History as of 2017 Chicago 1977......................Darger’s work is first shown in the exhibition, The Realms of the Unreal: The Life and Work of Henry Darger,

Hyde Park Art Center, Chicago.

1979......................Naive and Outsider Art in Chicago, Museum of Contemporary Art, Chicago.

1999......................Kiyoko Lerner offers Intuit the contents of Henry Darger’s room and some of the architectural features.

2000......................Intuit begins to plan the documentation, packing, moving and storage of the contents of the room;

the organization, re-housing and cataloging of the collection; and the creation of a permanent room to house the

Henry Darger Room Collection.

2000......................Henry Darger: Realms of the Unreal, Carl Hammer Gallery, Chicago.

2003......................Visions Realized: The Paintings and Process of Henry Darger, Intuit: The Center for Intuitive and Outsider Art, Chicago.

2004......................Genesis: Gifts and Promised Gifts from the Permanent Collection, Intuit: The Center for Intuitive and

Outsider Art, Chicago.

2007......................Drawn from the Home of Henry Darger, Smart Museum of Art, University of Chicago.

2008......................Henry Darger, Intuit: The Center for Intuitive and Outsider Art, Chicago.

2008......................Intuit unveils the permanent installation of the Henry Darger Room Collection.

2017-2018...........Chicago’s Henry Darger at Intuit: The Center for Intuitive and Outsider Art, Chicago.

• Unreal Realms, January 20-March 26, 2017

• Henry Darger: Author/Artist, January 20-May 29, 2017

• Henry Darger: Source Materials, March 2-May 29, 2017

• Betwixt and Between: Henry Darger’s Vivian Girls, April 12-September 4, 2017

• Henry Darger’s Orphans and the Construction of Race, July 14, 2017-January 8, 2018

• Darger + War: Violence and Loss in Self-Taught Art, September 15, 2017-January 8, 2018

United States 1981......................Transmitters: The Isolate Artist in America, Philadelphia College of Art, Philadelphia.

1987......................Henry Darger, Rosa Esman Gallery, New York City.

1987......................Henry Darger, Phyllis Kind Gallery, New York City.

1996-98................Henry Darger: The Unreality of Being, University of Iowa Museum of Art, Iowa City; Museum of American Folk

Art, New York City (1997); High Museum of Art, Atlanta (1997); Chicago Public Library (1998).

1997....................... Darger’s fame takes off when the American Folk Art Museum in New York holds a major showcase of Darger’s drawings.

1999......................Henry Darger and His Realms, Galerie St. Etienne, New York City.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

INTRODUCTORY MATERIALS

Selected Exhibition History as of 2017, continued 2000......................Disasters of War: Franciso de Goya, Henry Darger, Jake and Dinos Chapman, P.S.1/MoMA, New York City;

KW Institute of Contemporary Art, Berlin; Migros Museum fur Gegenwarts Kunst, Zurich; The Watari-Um Museum

of Contemporary Art, Tokyo; Magasin 3, Stockholm.

2002......................Studies and Sketches: Henry Darger, Eva and Morris Feld Gallery, American Folk Art Museum, New York City.

2010......................Henry Darger: The Certainties of War, American Folk Art Museum, New York City.

International 1992......................Parallel Visions: Modern Artists and Outsider Arts, Los Angeles County Museum of Art, Los Angeles; Museo

Nacional Reina Sofía, Madrid (1993); Kunsthalle Basel, Switzerland (1993); Setagaya Art Museum, Tokyo (1993).

2007......................Henry Darger: A Story of Girls at War, Of Paradises Dreamed, Hara Museum of Contemporary Art, Tokyo.

2011......................Henry Darger, American Innocence, Welcome to the Realms of the Unreal, Laforet Museum Harajuku, Tokyo.

2015......................Henry Darger (1892-1973), Musée d’Art Moderne de la Ville de Paris, France.

Installation of Unreal Realms exhibition at Intuit: The Center of Intuitive and Outsider Art, 2017. Photo by Cheri Eisenberg 23

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

INTRODUCTORY MATERIALS

Essential Questions What are the characteristics of outsider art?

Why is outsider art important to the history of art?

How did Henry Darger’s major life experiences affect his art and written work?

How do the objects in Henry Darger’s room provide clues to his identity and written narrative?

How did Henry Darger’s artistic practice exemplify self-taught methodology?

How do the themes of ownership and appropriation present themselves in Henry Darger’s body of work?

How does the concept of outsider art change when its art and artists are more readily accepted by the mainstream art world?

Educational Considerations The following sites provide further information on what students are expected to do at various levels of proficiency.

National Core Art Standards Chart www.nationalartsstandards.org Illinois Art Learning Standards Charts www.illinoisartslearning.org Terra Foundation for American Art: How to do a Close Read www.terraamericanart.org/tools-for- teachers/discussing-art-and-common-core-anchor-standards

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Unreal Realms: Creating Mood and Environment Grade level: Middle School Standards: VA.RE8.1.8A, VA:CR2.1.8A, VA:CR.3.1.7A, CCSS.ELA-LITERACY.SL.6-8.2, CCSS.ELA-LITERACY.W.6-8.2

Abstract: This lesson focuses on using appropriated resources, borrowing from Henry Darger’s techniques of tracing images from other sources, to draw settings that could be used in narrative works. By analyzing and comparing his work, students will discover how specific details, environments, juxtapositions and use of space can represent or enhance a desired mood or meaning.

Henry Darger (American, 1892-1973). After M Whurther Run Glandelinians attack and blow up train carrying children to refuge, mid-twentieth century. Watercolor, pencil, carbon tracing, and collage on pieced paper, 23 × 36 ¾ in. Collection American Folk Art Museum, New York, gift of Sam and Betsey Farber © Kiyoko Lerner, 2003.8.1B, Photo Credit: Gavin Ashworth © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Objectives: Students will be able to:

•

Analyze and illustrate how Darger uses media, tools and techniques to create specific visual effects, moods and settings

•

Use Darger’s techniques and process to create a setting that can be adapted to a fictional narrative

•

Write an artist’s statement that explains the inspiration, process and meaning of their work

Materials: Sketchbooks or notebook paper, drawing paper, magazines, newspapers, coloring books, tracing paper, transfer or carbon paper, color pencils, pencils, watercolors, brushes 25

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Unreal Realms: Creating Mood and Environment, continued Vocabulary: Appropriation: the use of pre-existing images for your own use Juxtaposition: placing subjects or shapes side by side; can be used to create a contrasting effect Proportion: relative size or scale of an object or figure Narrative Art: art that tells a visual story Mood: the emotion depicted or implied in a work of art Setting: the environment or place where a story or event takes place Motivation: After referring to Outsider Art 101 (pp. 6-9) begin a discussion using the following questions:

•

How did Henry Darger’s artistic practice exemplify self-taught methodology?

•

How do the themes of ownership and appropriation present themselves in Henry Darger’s work?

•

How does a setting help to convey meaning and/or mood in a work of art?

Henry Darger (American, 1892-1973). 175 At Jennie Richee. Everything is allright though storm continues. (double sided), mid-twentieth century. Watercolor, pencil, carbon tracing, and collage on pieced paper, 24 × 108 ¼ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2001.16.2A, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Unreal Realms: Creating Mood and Environment, continued Procedure: As a class, brainstorm a list of possible moods (such as contentment, excitement, anxiety, etc.) and settings (such as urban, rural, forest, plains, etc.) that could serve as settings for narratives. From this list, each student can choose a mood and setting to combine into a work of art.

In sketchbooks or on drawing paper, have each student write a short paragraph to explain the main idea for a narrative that could take place in their setting. This step helps students deepen the connection between the desired mood, setting and possible narratives that could be added to the setting. The narrative does not need to be included with the setting but can serve simply as a source of inspiration. Next, students can use a variety of resources to practice Darger’s tracing techniques, trying out a variety of juxtapositions, playing with proportions, and creating depth with overlapping and placement.

For their final drawings, have each student create a detailed setting (utilizing foreground, middle ground and background) that represents the mood and environment they selected when planning. Depending on the size of the resource materials, the dimension of the paper to work on will need to be considered. As they create the setting, they should trace subjects (trees, plants, mountains, buildings, etc.) from other sources. Encourage students to use interesting juxtapositions and distorted proportions to add to the mood and meaning. For example, tracing a large flower and placing it next to a mountain so the sizes are the same can create a fantasy environment.

Once the setting has been traced, students can use pencils to draw additional details and fill spaces as needed. The students could add color to the drawings with colored pencils and watercolors.

Once the settings are complete, each student can write an artist’s statement to explain their work.

Extensions and Modifications: Compare Darger’s drawing to the works of contemporary artist Kerry James Marshall and outsider artist Joseph Yoakum. How have these artists created a sense of mood? What effect does the setting have on the intended meaning or narrative? How have these artists worked with space (foreground, middle ground, background) and proportion (scale of objects)? How has each artist used tools, media and processes in their own way?

Instead of asking students to create individual settings, they could collaborate with classmates to create group settings. For example, the class could decide on a topic for a narrative, then each group creates a setting for a different part of the story. To extend the individual or collaborative drawings, students could create paper characters for narratives either attaching them permanently to the settings or creating characters that can be placed in front of several possible settings as the story progresses.

Assessment: Upon completion, students could share their work and hold a critique. It is suggested to use the rubric provided (pp. 73-75).

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Mixed Media Techniques: Portraying the Personal Grade level: Middle School Standards: VA:CR2.3.7A, VA:RE7.1.8A, CCSS.ELA- LITERACY.W.6

Abstract: Students are introduced to numerous foundational art media and techniques.

These multiple techniques can be utilized to create a final mixed media collage to symbolically represent their personal identity/history.

Henry Darger (American, 1892-1973). Untitled (Two Girls Ironing), after 1959.

Watercolor and pencil on coloring book pages with Christmas Seal stamps, mounted on board, 11 1/2 x 14 in. Collection American Folk Art Museum, New York, gift of Kiyoko Lerner, 2003.7.221, Photo Credit: Gavin Ashworth © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Henry Darger (American, 1892-1973). Untitled (“In Times Like These…”), mid-twentieth century. Crayon, coloring book page, and collage on Kodak board, 14 x 20 in. Collection American Folk Art Museum, New York, gift of Kiyoko Lerner, 2003.7.259a, Photo Credit: Gavin Ashworth © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Objectives: Students will be able to:

•

Develop a personal narrative using reference materials to design a mixed media collage

•

Assemble a composition using multiple art media and techniques

Materials: Assorted source materials (comics, magazines, newspapers, etc.), scissors, glue, watercolors, watercolor pencils, photocopier, tracing paper, pencils, brushes, sponge, packaging tape, optional Chartpak blender marker and optional transparent gesso with grit to put over packaging tape

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Mixed Media Techniques: Portraying the Personal, continued Vocabulary: Balance: the ways in which the elements (lines, shapes, colors, textures) of a piece are arranged Mixed Media: a work of visual art that combines various traditionally distinct visual art media Movement: the path the viewer’s eye takes through the artwork, often to a focal area Narrative Art: art that tells a story Symbolism: investing things with a meaning; expressing the invisible or intangible by means of visible or sensuous representations Motivation: Do a close read of teacher-selected Darger works. For close read instructions, see www.terraamericanart.org/tools-for-teachers/discussing-art-and-common-core-anchor-standards.

Procedure: Day 1-3: Have students write a short biography illustrating a personal identity or history as a visual narrative and highlight sections that help illustrate this narrative. After, students will be asked to find an assortment of images. Have students go through bins to find images that symbolically represent themselves for the narrative. Using a piece of drawing paper as a background, students will begin to assemble their mixed media collage to illustrate foreground, middle ground and background. Students should select images that symbolically represent aspects of their identity (such as childhood, community, culture, family, etc.).

Demonstrate cutting out images in a careful and precise manner. Have students begin cutting out images. Once students have a collection of images, they may lay them onto their drawing paper to assemble a composition (without gluing to leave room for editing in the future). Refer to Unreal Realms: Creating Mood and Environment (pp. 25-27) for examples of possible compositions using a variety of juxtapositions, playing with scale and proportion, and creating depth with overlapping and placement. Save images into a safe folder or binder for future use in the final mixed media collage.

Discuss ways to duplicate, adjust scale and diversify students’ images through photocopying.

Collect folders of images from students and make photocopies of select images before the next class.

Have students cut out photocopied images. Students will then arrange images (without gluing) on their sheet of drawing paper to create a composition using principles of repetition, rhythm and balance.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Mixed Media Techniques: Portraying the Personal, continued Day 4-5: Do a short demo of tracing techniques using graphite sticks, soft lead pencils, or carbon paper and transfer technique using packing tape. Students choose images to trace and transfer.

On a sheet of tracing paper, students will practice tracing images. The students will transfer the traced images to the drawing paper and begin gluing down their selected images. Students are given directions on how to glue using glue sticks or water soluble glue. Students should be encouraged to use a variety of techniques using overlapping, perspective and scale. Students should be encouraged to fill up the entire page to illustrate their personal identity/historical narrative.

Light Yellow or Golden Orange watercolor Photo by John Faier

Day 6: Give a short demo using one or more of the following media: watercolor pencils, watercolor, colored pencils, tempera, markers or other available materials. This could be taken a step further by having students create their own watercolor and apply it (see extension).

Students will apply their choice of media to their final mixed media collage.

Extensions and Modifications: Homemade watercolors can be made by either dissolving old markers (separated by color) in water overnight and then painting with them, or by using the following recipe:

Ingredients 4 tbsp baking soda

Storm Cloud Purple watercolor Photo by John Faier

2 tbsp white vinegar ½ tsp Karo light corn syrup 2 tbsp cornstarch Food coloring

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Mixed Media Techniques: Portraying the Personal, continued Directions

•

In a 2 cup measuring cup, mix baking soda and vinegar and wait for fizzing to stop.

•

Add corn syrup and cornstarch and mix well until corn starch has dissolved.

•

Pour this thick liquid into the wells of an ice cube tray.

•

With a toothpick or popsicle stick, stir in food coloring, and mix well for about a minute.

•

Set tray in a warm place to set and dry overnight.

•

When paints are dry to the touch, they’re ready to use.

Finally, you may do a short photocopy demo that can includes photocopy transfers either by using packing tape or blender markers (the latter works best when used with items printed by a laser printer).

Directions

•

Place packing tape over desired image.

•

Flip image over, and dampen with a wet sponge.

•

Gently rub excess paper off with a finger until only the ink from the image adheres to the packaging tape.

•

When the transfer is fixed to the composition, lightly cover the tape with transparent gesso with grit in it so added materials

can be applied to the image, if needed.

Another option would be to use the blender marker with a copy from a laser printer. Flip image and rub the blender marker over the image repeatedly until it adheres to the desired surface.

Assessment: When all of the mixed media pieces are done, post the finished works and have a gallery walk around the room. Discuss how the mixed media techniques enhanced either the balance, movement or symbolism of the work. If time does not allow, this could even be a sticky note critique or written reflection.

It is suggested to use the rubric provided (pp. 73-75).

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Constructing Gender Roles Grade level: High School Standards: VA:Re.7.2.Ia, VA:Cr3.1.Ia, VA:Cr1.2.Ia

Abstract: Henry Darger is well known for his appropriation and juxtaposition of images out of their original context. By constructing imaginative scenes with appropriated imagery, Darger creates new identities with novel backstories. Artists often use the process of appropriating and juxtaposing images to encourage viewers to reevaluate the image’s original purpose and question how those sometimes iconic images play a role in shaping a society’s belief system.

In this unit, students study the visual art of Henry Darger. Their discussion will focus on the representation of gender roles in children’s comic books and how the medium develops culturally normative gender stereotypes for young children.

Henry Darger (American, 1892-1973). Human headed Blengins of Calverine Island Catherine Isles. Males. Venomous. Only the angels of heaven can combact these creatures, mid-twentieth century. Watercolor, pencil, and carbon tracing on pieced paper, 19 × 24 in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2001.16.5, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York 32

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Constructing Gender Roles, continued Objectives: Students will be able to:

•

Research, collect and record how women, men and animals are portrayed

in popular culture and historical sources (such as coloring books, comics

and television)

•

Apply collage and tracing techniques to invent a gender fluid character

•

Compose a scene that emphasizes the character’s identity

Materials: Coloring book and magazine images, soft lead pencils, drawing paper, tracing paper, color pencils, markers, oil pastels Vocabulary: Appropriation: the use of pre-existing images for your own use Juxtaposition: placing subjects or shapes side by side; can be used to create a contrasting effect

Patty’s Party (side 2) Collection of Intuit: The Center for Intuitive and Outsider Art, Henry Darger Room Collection, HDRC189b

Symbolism: investing things with meaning; expressing the invisible or intangible by means of visible or sensuous representations Gender fluid: denoting or relating to a person who does not identify themselves as having a fixed gender

Motivation: Review Introductory Materials (pp. 6-24).

Students will work with a variety of images from coloring books, comic books, popular magazines and historical sources. Have students collect images from newspapers, catalogs and magazines that illustrate male and female stereotyping. Give the students a week to find images and grade them on if the images are brought in. Display these in the room to begin this discussion. Have students describe what they see and categorize the images by gender stereotype to open a discussion on the establishment of gender identity within a cultural context. The conversation will provide a definition of a stereotype as a simplified and standardized conception or image invested with special meaning and held in common by members of a group. Have students discuss how the images

Little Girl Eating Cereal Collection of Intuit: The Center for Intuitive and Outsider Art, Henry Darger Room Collection, HDRC133a

portray acceptable norms for women and men and whether those images determine the way individuals view gender roles.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

FOUNDATIONAL LESSON PLANS

Constructing Gender Roles, continued Have students follow up on the class discussion by researching and collecting five or more images from popular culture and historical sources (magazines, advertisements and more) and record observations about gender portrayals. The students will also collect two or more animal images portraying masculine and feminine characteristics.

Procedure: Have the students use their collected five or more images of gender portrayals to create a character that breaks down gender stereotypes found in their research. The students will cut from those images the pieces that describe those attributes. These pieces will be combined into a new image that seamlessly presents a new character with a unique gender identity (see student exemplar).

Once students have completed their collage, have them rub the back of their new image

Student Exemplar

with soft graphite. The rubbed side is placed onto a larger sheet of drawing paper, and students trace the surface areas of the image to transfer an outline of their character to the paper. The students then create a scene and add other characters to tell a story about their character’s new identity. The students then choose between markers and colored pencils to add color to help give life to their story.

At this point, students should review Darger’s art to discuss how color influences message. Students make design decisions about what palette to use, how extensive their color should be, and if they plan to evoke emotion with their use of color.

Assessment: It is suggested to use the rubric provided (pp. 73-75).

Good Friends Coloring Book (side 2) Collection of Intuit: The Center for Intuitive and Outsider Art, Henry Darger Room Collection, HDRC21b

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

NARRATIVE LESSON PLANS

Interpreting Identity: Current And Historical Narratives Grade level: High School Standards: VA.RE8.1.8A, VA:CR.3.1.7A, SL.6-8.2, W.6-8.2, VA:CR2.1.8A6

Abstract: In this lesson plan, students will be creating narratives based on current and historical events. Henry Darger had extensive collections of resources, including newspaper clippings, that he used as inspiration in his work or to appropriate images and text. Using newspaper and magazines, students will create a narrative collage about a specific current or historical event or person.

Henry Darger (American, 1892-1973). At battle of Drosabellamaximillian. Seeing Glandelinians retreating Vivian girls grasp Christian banners, and lead charge against foe (double-sided), mid-twentieth century. Watercolor, pencil, and carbon tracing on pieced paper, 19 × 47 ¾ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2002.22.1B, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Objectives: Students will be able to:

•

● Analyze and interpret how Darger’s work and collections draws inspiration from history

●

•

● Create a collage or series of collages that represents or draws inspiration from current events

● ● •

● Write an artist’s statement that explains the inspiration, process, and meaning of their work

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

NARRATIVE LESSON PLANS

Interpreting Identity: Current And Historical Narratives, continued Materials: Sketchbooks, notebooks/drawing paper, construction/reusable paper, selection of magazines, newspapers and articles, scissors, glue, old books (optional)

Vocabulary: Appropriation: the use of pre-existing images for your own use Altered Book: a mixed media piece that changes an existing book into a work of art Collage: artwork made by cutting and gluing cut or torn materials together to create the work Inspiration: the state of being inspired; the action or power of moving intellect or emotions Narrative Art: art that tells a visual story Obsession: a persistent, compelling motivation

Motivation: Refer to Outsider Art 101 (pp. 6-9) and begin a discussion based on responses to the following essential question: What are the characteristics of outsider art?

Refer to Intuit’s Henry Darger Room (pp. 14-16) and begin a discussion using the following question: How do the objects in Henry Darger’s room provide clues to his

Henry Darger (American, 1892-1973). Colonel Jack F Evans, mid-twentieth century. Watercolor, pencil, ink, and collage on board, 13 3/4 × 11 ½ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2002.22.5, Photo Credit: Gavin Ashworth © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

identity and written narratives?

Procedure: Share and discuss Darger’s work, resources and collections. How did Darger use collage to communicate ideas? What role does history play in his work? What is the connection to history or contemporary events? To help guide this process, use the Terra Foundation for American Art: How to do a Close Read accessible here: www.terraamericanart.org/toolsfor-teachers/discussing-art-and-common-core-anchor-standards.

Have students select newspaper editions, magazines, history textbooks, and/or online research. Prior to this lesson, students could also be asked to collect newspaper and online articles about current events or a period in history that they are particularly interested in. Each student should find an article/articles about a current or historical event, person, or topic that they are most drawn to. Attention should be paid to the setting, architecture, natural surroundings, room interiors, etc. that illustrate the text.

In a single-sewn signature sketchbook or on notebook paper, students will write about their topic and reasons for their choice. Here are some suggested questions: What is this

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Interpreting Identity: Current And Historical Narratives, continued Henry Darger (American, 1892-1973). Untitled (Two Girls and a Dog Sitting in Garden), 1959 or later. Watercolor, carbon tracing, pencil, and collage on paper, mounted on cardboard, with 1959 Christmas Seal stamps, 11 x 15 in. Collection American Folk Art Museum, gift of Kiyoko Lerner, 2003.7.6, Photo Credit: Gavin Ashworth © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

topic about? Why did you choose this topic/event/person? Are these events positive, upsetting, compelling, etc? What would you like other people to know about this topic? It is suggested to work these questions into a thinksheet to help facilitate research. Students will be asked to break up into small peer groups to share their selected narratives using their thinksheet.

Students will use the newspaper with magazine articles and images to create a collage about their chosen event/topic/person. Using images and text, the collage could communicate information about the topic or students might choose to appropriate information from their research and resources to create a visual story about the topic.

Extensions and Modifications: Create a series of collages in a scrapbook inspired by what Darger did with his own collections and resources to illustrate the narrative.

Refer to Bookbinding Lesson Plans (PAGE 56) to create a book to illustrate the research.

Darger’s work could also be compared to Richard Saholt’s collages.

Assessment: Upon completion, students could share their work and hold a critique. How well has each artist communicated information or a story about their topic? Do the images and text effectively represent a specific current or historical event/topic/person?

It is suggested to use the rubric provided (pp. 73-75).

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Exploring Safe Spaces and Scary Places Grade level: Middle School Standards: VA:RE8.1.6-8, SL.6-8.2, VA:CR2.1.6-8, CCSS.ELA-LITERACY.W.6-8.2, VA:CR3.1.6-8

Abstract: This lesson focuses on how spaces and places can evoke feelings of safety and comfort, or being unsafe or uncomfortable. Using Darger’s artwork and other images, students explore this idea and then reflect on their own experiences related to this topic.

Students develop their own visual narratives that depict what has or could happen in a specific space/place.

Henry Darger (American, 1892-1973. To escape forest fires they enter a volcanic Cavern. Are helped out of cave, trap by Blengiglomenean Createns. / PERSUED BY FOREST FIRES, PROVING THE BIGNESS OF THE CONFLARRATION IT IS 40 MILES AWAY AND ADVANCING FAST. / How when they were put in a rat infested cell, they by using the rats and even a few mice they caught they managed to escape after being persued and hounded. (double-sided), mid-twentieth century. Watercolor, pencil, and carbon tracing on pieced paper, 19 × 70 ½ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2000.25.1A, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Objectives: Students will be able to:

•

Analyze and interpret how Darger’s work conveys meaning

•

Create a visual narrative about either a safe or uncomfortable space using Darger’s techniques and process

•

Write an artist’s statement that explains the inspiration, process, and meaning of their work

Materials: Digital or printed images of safe/unsafe spaces, sketchbooks/notebook paper, drawing paper, assortment of magazines, newspapers and coloring books, tracing/carbon paper, pencils, watercolors, paint brushes, scissors, glue

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Exploring Safe Spaces and Scary Places, continued Vocabulary: Appropriation: the use of pre-existing images for your own use Mood: the emotion depicted or implied in a work of art Narrative Art: art that tells a visual story Setting: the environment or places where a story or event takes place Visualization: the formation of a mental image; a picture in your mind

Henry Darger (American, 1892-1973). 2 At Cederine She witnesses a frightful slaughter of officers. (double-sided), mid-twentieth century. Watercolor, pencil, carbon tracing, and collage on pieced paper, 19 1/8 × 47 ¼ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2002.22.6A, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Motivation: Refer to the Introductory Materials (pp. 6-24). After reading through the section, begin a discussion using the following questions:

•

How did Henry Darger’s major life experiences affect his art and written work?

•

Have you been in a place/space that made you feel scared or uncomfortable?

•

Which places/spaces feel most comfortable to you, where do you feel safe or at ease?

Share a series of images of spaces that could be considered safe/unsafe or comfortable/uncomfortable. In small groups or as a class, have students categorize the images and explain the reasons for identifying a space as safe/unsafe or comfortable/uncomfortable.

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Exploring Safe Spaces and Scary Places, continued Procedure: Share and discuss Darger’s work. (It is suggested to include narrative art by other artists to draw comparisons). What do these images tell us? Are these spaces where the characters have found safety or are they at risk? How has Darger created meaning visually?

What mood is represented and how has the artist accomplished this? It is suggested to design a teacher-developed thinksheet to best facilitate this process.

Each student writes about a space where they’ve felt uncomfortable, scared or anxious or about a space where they’ve felt safe, secure or comfortable. The following should be addressed in their written response: Where is this space/place? Visualize it and describe what you see. How do you feel in this space? Why does this space make you feel this way? Have students put their heads down on their desk and visualize the space.

Have the students sketch the chosen space as it is remembered. Be sure to include all details of the space and objects within this space.

Have each student plan a visual narrative either based on a real event or experience in that space/place or what they imagine has happened or could happen there. Students can plan this narrative in writing, a series of sketches or both.

Share plans with a peer. Is the visual story clear and easily understood? Has the fellow student conveyed whether this is a safe/unsafe or

Henry Darger (American, 1892-1973). Untitled (“We will slam them with our wings”) (double-sided), mid-twentieth century. Watercolor, pencil, carbon tracing, and collage on pieced paper, 24 × 106 ½ in. Collection American Folk Art Museum, New York, museum purchase with funds generously provided by John and Margaret Robson © Kiyoko Lerner, 2004.1.3A, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

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Exploring Safe Spaces and Scary Places, continued comfortable/uncomfortable space? Make revisions as needed.

Using Darger’s collage and/or tracing techniques, students will create a work of art that visually depicts the narrative they’ve planned. The artwork should include a strong representation of their chosen space, as well as figures and objects necessary to tell the story. They should begin with drawing, tracing and collage and then use watercolors to add color. Refer to Mixed Media Techniques: Portraying the Personal (pp. 28-31).

Have students write an artist’s statement that explains the inspiration for their work, the meaning and the process.

Extensions and Modifications: Other possible examples of narrative art to compare might include: Tamalada (1988)

by Carmen Lomas Garza, Solitaire (1943) by Balthus, or Death in the Sickroom (1893)

by Edvard Munch.

Assessment:

Student Exemplar

Upon completion, students can share their work and hold a critique. How well has each artist conveyed meaning? Is the visual narrative understandable? Is there a sense of mood; that the space feels safe/unsafe or comfortable/uncomfortable?

It is suggested to use the rubric provided (pp. 73-75).

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Creating Empathy: Connecting Conflict with Resolution Grade level: High School Standards: VA:CR1.2.IA, VA:CR2.2.IA, VA:CR1.1.IA

Abstract: This lesson gives students the opportunity to build empathy for others. Students look at the life of Henry Darger along with the lives of other outsider artists who have dealt with adversity. A list of self-taught artists can be found in the Extensions and Modifications (p. 44). Students respond through the use of sewing, writing and painting. Students focus on a real or imaginary moment in their lives to write a story that describes a conflict and its resolution in order to show how empathy can play a role in allowing people to forgive each other and move forward.

Henry Darger (American, 1892-1973). I At Cains Fair. Violets sisters at her command, Escapes, but she remains a prisoner, and she even in the face of guns, obstinately refuses to tell where they went. 2 At Cains Fair, Her Sisters comes to he rescue and all the officers except cannon are captured Note the strange phenomena. (double-sided), mid-twentieth century. Watercolor, pencil, carbon tracing, and collage on pieced paper, 19 1/8 × 47 ¼ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2002.22.3B, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

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Creating Empathy: Connecting Conflict with Resolution, continued Objectives: Students will be able to:

•

Write a story that illustrates conflict and resolution

•

Construct a book using one of the three lessons provided in the Foundational Lesson Plans (pp. 25-34)

•

Illustrate a story that incorporates text and one or more mixed media techniques

Materials: Bookbinding needles, awl, ruler, bone folder, French linen thread or embroidery thread, white sulphite paper (80 lbs or more), pencils, colored pencils, markers, watercolors, brushes, water, paper towels Vocabulary: Conflict: to disagree; to see things differently Empathy: to see the world from someone else’s perspective Emphasize: to stress or make important Resolution: to solve a problem Variety: not everything the same; to have difference

Motivation: Present the artwork of Henry Darger and refer to the Henry Darger Biography (pp. 10-13) to open a discussion about conflicts that Darger had to face and how he used art to cope.

Students can then enumerate the everyday conflicts that they encounter: someone cuts in line at the store, people talk about others behind their backs or exclude them from social interactions. Students discuss how they handle such conflicts and how shared experience builds empathy.

Students are challenged to describe these situations from different perspectives. Students are led to wonder how and why others see situations differently than they do. The class discusses how these different viewpoints affect the people around us.

Students brainstorm conflicts in small groups. Each student compiles a list of three imaginary conflicts and three actual conflicts from their personal experience. From their individual lists, students select one event that they consider a good example of conflict and resolution. Students are directed to independently storyboard that event in six to eight mixed media panels to be bound into a book.

Bookbinding Lesson Plans can be found in their own section (pp. 56-72).

Procedure: Students choose images from resource materials (comics, comic books, magazines, newspapers, stamps, paper dolls, clip art, online coloring book pages and more) to illustrate their story of conflict and resolution.

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Creating Empathy: Connecting Conflict with Resolution, continued Teachers refer to Mixed Media Techniques: Portraying the Personal (pp. 28-31) and choose a Bookbinding Technique (pp. 56-72) to develop a mixed media narrative of conflict and resolution. Students should be mindful of their book’s page sizes in relation to the selected images to be traced, collaged and transferred.

Students transfer their storyboard design to the selected bookbinding technique using any of the methods from Mixed Media Techniques: Portraying the Personal (pp. 28-31). Students should be instructed in transparent, translucent and opaque layering.

Extensions and Modifications: Artists such as James Castle, Judith Scott, Bataille Juliette Elisa, Agnes Richter, Howard Finster and Purvis Young can be incorporated into the lesson plan.

Assessment: The students should critique each other’s storyboards prior to having the students begin their paintings. The critique should focus on: (1) context and understanding of topic, (2) fluidity of the images, and (3) are the students varying their drawings?

An additional critique or evaluation can focus on: (1) imagination and original thinking, (2) care in quality of work, and (3) connections to the big idea and to other artists.

It is suggested to use the rubric provided (pp. 73-75).

Henry Darger (American, 1892-1973). 2 At Cederine She witnesses a frightful slaughter of officers. (double-sided), mid-twentieth century. Watercolor, pencil, carbon tracing, and collage on pieced paper, 19 1/8 × 47 ¼ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2002.22.6A, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

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Animation: Life, its Challenges and Superheroes who come to the Rescue Grade level: High School Standards: VA:CR1.2.I A, VA:CR.1.2.6 A, VA:CR3.1.4 A, VA:RE8.1.1 A, CCSS.ELA-LITERACY.RL.9-10.1, CCSS.ELA-LITERACY.RL.9-10.3

Abstract: This lesson focuses on the challenges we all face in daily life. Self-taught artist Henry Darger had his own challenges to overcome; and his own way of coping. Students use their own life experiences and challenges to create narratives—but with a creative, imaginary twist. An imagined superpower or superhero, created and developed through the use of collage, tracings or both, helps the main character through a difficult problem.

Students choose between several different animation styles (flipbook, thaumatrope or stop-motion animation) and guide the creation of animated works.

Henry Darger (American, 1892-1973). Untitled (Blengins capturing Glandelinian Soldiers) (double-sided), mid-twentieth century. Watercolor, pencil, carbon tracing, and collage on pieced paper, 31 1/2 × 131 in. Collection American Folk Art Museum, New York, gift of Sam and Betsy Farber, 1999.7.1A, Photo Credit: Gavin Ashworth © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Objectives: Students will be able to:

•

Create a thaumatrope to animate a single character or create a stop-motion animation or flipbook telling the story of a

character who overcomes a challenge with the help of a superhero or superpower

Provide feedback to a peer about animation for the purpose of making revisions and improvements

•

Materials: Index cards or thin cardboard, hole punch, string, rubber bands, digital camera, computer, iPad or smartphone app for animation, colored pencils, tracing paper, watercolors, pens 45

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Animation: Life, its Challenges and Superheroes who come to the Rescue, continued Vocabulary: Thaumatrope: an optical toy popular in the 19th century; a disk with a picture on each side attached to two pieces of string that, when twirled, gives the appearance that the two images on either side of the disk are one.

Stop-Motion Animation: an animation technique that makes an object appear as if it is moving on its own; the object (figure) is moved in small increments and photographed after each movement. When the images are played back in a fast sequence, the figure looks as if it is moving.

Motivation: Access an online example of a cut paper stop-animation video, such as the Spinto Band “Oh Mandy” video, to watch as a class.

Teacher will begin a class discussion or free-writing activity using the following exercises:

•

Students list and discuss obstacles and challenges they have had to face in their own lives or those that their friends or family members have experienced.

• Read Henry Darger Biography (pp. 10-13) and list obstacles and challenges Darger faced in his life.

•

If you had any superpower to use to escape or overcome the challenge or obstacle standing in your way, what would it be?

•

Illustrate and describe, using text and sketches, what you think a superhero with these powers might look like.

Procedure: Students use the trace and transfer method from Mixed Media Techniques: Portraying the Personal (pp. 28-31) or cut out a figure from a coloring book/found source to create a figure representing their main character. Students label the character with their superhero attributes and find a way to represent how this power would look if it were illustrated (such as wings, fire or multiple limbs).

Thaumatrope Students transfer or glue an image of the character that represents themselves (minus the superhero element) on Side A of a postcard or thin cardboard circle of three or more inches in diameter. Students trace or collage the superhero characteristic to Side B of the card.

Two holes are punched and string or rubber bands added, so that two hands can spin and animate the character.

Stop-motion animation Students can work in teams of two or three to animate characters. iPads, phones or cameras need to be propped on a surface and stabilized. Free apps like Stop Animator or Lego can be used. A stop-motion animation is created by photographing still frames and moving the subject a small amount each time a new photograph is taken. When the photos are combined at a fast speed, the subject appears to be moving on its own. Scenery for the stop-motion animation can be created using long rolls of paper to give the appearance that the characters are walking and moving through a space. The characters can be created using trace and transfer methods or collaged characters from comic books, newspapers, magazines and coloring books. Backgrounds can be a single setting

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Animation: Life, its Challenges and Superheroes who come to the Rescue, continued with the character’s actions as the moving force of the animation. Characters can have several parts (separate heads, arms, legs) to give freedom for the artist to animate and move the character. Brass fasteners or staples can be added to keep body parts together but allow characters to move, if desired. For a choppier animation, 15 frames per second are recommended. For a smoother transition in the animation, allow 30 frames per second.

Extensions and Modifications: To bring more self-taught artists into the discussion and/or lesson, the artists Welsey Willis and James Castle are recommended for inclusion.

Assessment: Upon completion, students will watch animations together and critique/reflect.

It is suggested to use the rubric provided (pp. 73-75).

Henry Darger (American, 1892-1973). Gigantic Roverine with Young All poisonous All islands of Universan seas and oceans. Also in Calverina Angelinia and Abbieannia, mid-twentieth century. Watercolor, pencil, and carbon tracing on pieced paper, 14 × 33 3/4” in. Collection American Folk Art Museum, New York, anonymous gift © Kiyoko Lerner, 2001.16.4, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York 47

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Imaginative Improvisation Grade level: Middle School Standards: TH:CN11.1.HSII A., TH:CR1.1.6 A, CCSS.ELA-LITERACY.RL.9-10.3, CCSS.ELA-LITERACY.RL.9-10.5

Abstract: This lesson plan outlines the basics of three improvisational games. Each game uses Henry Darger’s art for the actors to improvise a narrative based on chosen themes.

Henry Darger (American, 1892-1973). 3 At Jennie Richee are persued down stream. Puzzle, try and find them, but they’re in picture (double-sided), mid-twentieth century.

Watercolor, pencil, and carbon tracing on pieced paper, 18 × 47 ½ in. Collection American Folk Art Museum, New York, gift of Carl Lobell and Kate Stettner in honor of Frank Maresca © Kiyoko Lerner, 2000.25.2A, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Objectives: Students will be able to:

•

Illustrate the composition and action in a selected Darger painting by creating a “tableau” with a team of classmates

•

Tell a story, along with a classmate, while looking at a Darger painting and perform in front of an audience of classmates

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Imaginative Improvisation, continued Materials: Performance space, camera or recording device, a projector, optional materials for do-it-yourself costumes

Vocabulary: Character: a person in a play “Cheating Out”: positioning yourself somewhat toward an audience Improvisation: no planning ahead; only reacting and living in the moment Projection: being able to be heard clearly by an audience Setting: the environment or place where a story or event takes place Stage Composition: the act of combining parts or elements to form a whole

Henry Darger (American, 1892-1973). At 5 Norma Catherine. but are retaken. (double-sided), 1970. Watercolor, pencil, carbon tracing, and collage on pieced paper, 23 × 36 ¾ in. Collection American Folk Art Museum, New York, gift of Sam and Betsey Farber © Kiyoko Lerner, 2003.8.1A, Photo Credit: Gavin Ashworth © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

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Imaginative Improvisation, continued Motivation: Introduce students to outsider artists and outsider art as an art genre by referring to Outsider Art 101 (pp. 6-9). Students will look at examples of self-taught art and work in groups to create questions and then a working definition of outsider art. Teacher will facilitate these smaller conversations about outsider art as students develop an understanding.

Chicago artist Henry Darger’s life and artwork is introduced to students through the Henry Darger Biography (pp. 10-13). Students engage in a discussion (as a class or in small groups) to examine the narrative nature of Darger’s work as well as recurring characters.

Use the information on How to do a Close Read, (p. 24). What do you see? What do you notice? What specifics do you see in the artwork that makes you say that?

Procedure: Do a Google search and watch a sample video of a group performing a tableau and/or partners playing with “One Word at a Time” or “Two-headed Monster’” with any topic. Teacher can call a student or group of students up in front of the class, then project or display a Darger painting and model one of the games. Have students break up into groups or partners to practice with a printed copy of a Darger painting.

The performances are presented in front of the class and then critiqued. Performance critiques can be facilitated by a teacherdeveloped thinksheet. Recording performances with video and watching the playback is recommended.

Tableau In a tableau, participants make still images with their bodies to represent a scene. Students can recreate a scene drawn by Henry Darger by standing still and using body language of characters observed in the scene. Students can extend this scene by improvising dialogue and movement enacting their own imagined scenario of what happens next. See Extensions and Modifications (p. 51) for more Tableau ideas.

One Word at a Time In the “One Word at a Time” improvisation game, students practice storytelling about a Darger image (use example images or research Darger for more options) and then their own stories using this drama game. Each person takes turn saying just one word of a sentence until the story is told. Partners can take turns while standing on a stage in front of a group, or a large group can participate while a ball is passed around a circle to see who tells the next part of the story.

Two-Headed Monster The “Two-Headed Monster” is a simple game. Students work in pairs to be creative and work together to become a two-headed monster. While keeping the same personality, they can tell the story prompted by a Henry Darger artwork while speaking at the same time and linking arms. Actors need to listen to what the other person is about to say and try to say the same words at the same time.

It helps if one person leads and speaks very slowly to allow the other person to speak the same words at the same time.

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Imaginative Improvisation, continued Extensions and Modifications: For the tableau activity students can create costumes for the characters in the scene they are recreating. They can use found fabric, white butcher paper, cardboard, markers, watercolor paint, ribbon, cords, straps of fabric and tape to create costumes to help emphasize their character’s role in the play. Suggestions include drawing an additional landscape as part of a wing or using color fabric to blend in or stand out from the painting. Another activity is to have students write a play to create written and verbal dialogue for characters. What would they say?

Assessment: Upon completion, students watch live or recorded performances to discuss the acting and how the Darger artwork influenced the performance(s). Students hypothesize ways Darger’s artwork could have been interpreted differently by another set of actors.

It is suggested to use the rubric provided (pp. 73-75).

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Presenting Shadow Puppets Grade level: Middle School Standards: CCSS.ELA-LITERACY.R.9-10.3, CCSS.ELA-LITERACY.R.9-10.5, VA:CR1.1.8A, VA:RE8.1.IA

Abstract: This lesson focuses on conflicts we all encounter and the dream worlds and safe places to which we can escape to circumvent life’s problems. Using Darger’s artwork to inspire their narratives and style, students produce shadow puppets, scenery, setting and lighting in a performance.

Henry Darger (American, 1892-1973). At Jullo Callio via Norma They are captured by the Glandelinians, mid-twentieth century. Watercolor, pencil, and carbon tracing on pieced paper, 19 1/8 × 36 ½ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2001.16.3, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

Objectives: Students will be able to:

•

Write about a conflict where characters enter a dream world or a safe place

•

Produce a storyboard that illustrates the order in which their story will be told in images

•

Design shadow puppets, painted backgrounds and color gels to tell their story of either a dream world or a safe place 52

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Presenting Shadow Puppets, continued Materials: Scissors or X-acto knives, thin cardboard or black tag board, string, white fabric or white butcher paper, lights, overhead projector, white sheet, binder clips

Vocabulary: Backlighting: lighting up an object from the back Focus: appearing visually clear Foreground: the area of a composition appearing closest to viewer Narrative Art: art that tells a visual story Performance Art: artistic performance presented to an audience Setting: the environment or place where a story or event takes place Shadow Puppet: figures placed between a light and a screen that, when moved, create an illusion of moving images on a screen Silhouette: a dark shape or outline of someone or something visible against a lighter background

Motivation: Students will research the life of Henry Darger and analyze the similarities and differences in their personal life stories. Refer to Henry Darger Biography (pp. 10-13), Outsider Art 101 (pp. 6-9) and Historical Timeline (pp. 19-21).

•

Compare Henry Darger’s childhood and your childhood. How are they similar, and how are they different?

•

What memories are expressed in Darger’s art? Explain how those memories play a role in the way he made art.

•

Suggest why Darger turned to visual art to express his message.

•

Darger worked in Chicago during the 1920s-1960s. What events in our city would he have experienced?

How would those events influence his artwork?

What is Darger’s message, and how do you find it in the art? Write about how the artist communicated to you

•

through his work.

Then begin a discussion or free-writing activity using the following prompts:

•

Have you ever had a good dream about a place you wanted to return to even after waking up, but you couldn’t? Describe it.

•

Describe the setting of a perfect imaginary place where you would love to visit.

•

Describe, in detail, a place in your real life where you feel safe and comfortable and completely at peace. What’s in this space?

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Presenting Shadow Puppets, continued

Schoolmates (side 1) Collection of Intuit: The Center for Intuitve and Outsider Art, Henry Darger Room Collection, HDRC01a

Procedure: Share and discuss Darger’s work and have students describe the settings. Share video clips with students of shadow puppet performances. In small groups or as a class, have students study the video and list all features of the location and lighting they notice that suggest the setting. The work of Manual Cinema is suggested for viewing.

Students will then work in pairs to plan narratives based on a dream place or real space they go to escape conflict. The stories will be performed with shadow puppets. Students should plan their narratives as a storyboard with sketches and text.

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Presenting Shadow Puppets, continued Partners will team up with another pair of students for a peer review. They will each share their narratives and storyboards. Is the visual story clear and easily understood? Have they described the safe and dream settings clearly enough? Make revisions as needed.

Students sketch all parts of the scenery they imagine, or print out elements of the scenery/space in the computer lab.

Using tracing techniques, students can draw elements of scenery using permanent black markers on clear plastic acetate or transparencies.

To represent characters in the narrative, shapes and silhouettes can be drawn and traced onto thin food packaging cardboard and cut out using scissors and/or X-acto knives. Thin wooden skewers can be hot glued to the cardboard cutouts to work as shadow puppets.

Transparencies can be held in front of lights or projected using overhead projectors onto a white wall or a white surface, large enough to accommodate the scene.

Students can experiment with scale and the differences between how puppets look when held closer to the screen (smaller/clearer/ crisper and in focus) and farther away (larger/blurrier and out of focus).

Extensions and Modifications: Teacher could include outsider artist Joseph Yoakum in the research portion of motivation. The following additional questions can also be discussed:

•

How are Darger’s themes similar to Yoakum’s?

•

How do they differ?

•

In what ways do these two artists share techniques?

•

How are their techniques unique? Which artist seems to have a stronger message for you?

Assessment: Students perform their shadow puppet narrative. Designated students can document parts of the performance using still photography or video.

During a post-performance critique, there can be discussions about how each performance has used visual details (objects in setting, lighting) to give a sense that a space is safe or dream-like. Is the performance understandable? How have the performers used technique to effectively tell their story? This process can be facilitated by a teacher-developed thinksheet.

It is suggested to use the rubric provided (pp. 73-75).

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Pamphlet Stitch Book A good place to start exploring bookbinding techniques is with a simple three-hole pamphlet.

The fore edge of the cover may be folded in to provide support or additional decoration.

Materials: Text: 4 sheets, standard size, of any photocopier, laser printer or typing paper Cover: 1 sheet of any medium-weight art paper, cut as instructed below Tie: 1 piece of narrow ribbon, yarn, waxed linen, or strong twisted paper cord. You’ll need a piece about 3½ times the length of your pamphlet’s spine.

Tools: Bone folder or similar tool Craft or mat knife Metal-edged ruler or ruler plus metal straightedge #18 tapestry needle or any large-eyed, blunt-ended needle Tea towel or paper towel folded into quarters lengthwise Push pin, awl or equivalent

Tip: In any type of binding, the cover’s fore edge takes the most abrasion. If you want your book to last, make the cover’s fore edge sturdy.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Pamphlet Stitch Book, continued Process

1. Measure and cut the cover sheet ½” taller than the text paper. For a narrow fold-in at the fore edge, cut the cover 3” wider than the text; for a deep fold-in, make it 10” wider.

2. Score and fold the cover paper in half. Then mark 1¼” from each fore edge for a narrow fold-in or 4¾” for a deep fold-in. Score and fold both sides inward. Set the cover aside (the fore edge may be folded in as deeply as you wish; just allow for that amount when originally measuring and cutting the cover.)

3. Fold the four text sheets in half. Slip one inside another until the four sheets nest together as a signature. Secure the signature together with paper clips so holes stay aligned when the holes are poked.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Pamphlet Stitch Book, continued 4. Open the signature and place it on top of the folded towel. Along the fold line, measure the center and poke a hole there with an awl or push pin. Then make two more holes, one about 1” down from the top, the other the same distance up from the bottom.

5. The cover can be punched and sewn at the same time as the signatures. Open the cover and lay it on top of the folded towel.

Measure and poke a hole at the center of the fold line. To allow for the overhang, measure and make the top and bottom holes 1¼” in from the edges. Covers can be decorated or made of a different decorative paper.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Pamphlet Stitch Book, continued 6. Nest the signatures inside the cover, making sure the holes match up. After threading the ribbon or cord through the needle, begin sewing by passing from the outside to the inside through the center hole. Leave a tail of ribbon long enough to tie a bow or knot later.

7. Sew up to and out of the top hole.

8. Sew down the outside and into the bottom hole.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Pamphlet Stitch Book, continued 9. Sew back through the center hole, making sure to sew through the hole, not the ribbon. The ribbon ends must be on opposite sides of the long stitch if you want to tie a bow or knot around that stitch. Adjust the ends if they’re not on opposite sides, and tie a bow or knot.

10. Trim off any excess from the ribbon ends.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Accordion Style Book Created out of one continuous sheet of paper, the accordion style book folds easily and is a great option for large scroll-length imagery. The accordion style book can be extended outward (as pictured) as well as kept flat between its closed covers.

Materials: Glue 18” by 24” Paper, cut into equal strips (this size yields 4 mini books) Wax paper Cloth Cardboard

Tools: Bone folder (or similar tool) Scissors Ruler Brush Sandpaper Weight (something heavy to apply even pressure)

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Accordion Style Book, continued Process:

1. Decide on the size (length) and number of pages (folds). If needed, glue strips together overlapping one whole page as shown in diagram below.

2. Fold strip of paper in half. Pick up the top half and fold it over again, allowing the bottom half to remain on the table. Fold it again the reverse direction so the panels angle upwards. Create a third fold in the middle panel going inward, then fold in half the top panel.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Accordion Style Book, continued 3. Measure cover boards a fraction bigger than the folded paper. Cut two boards to size and sand edges with sandpaper to make both boards even.

4. Measure paper, cloth or whatever you are covering the boards with leaving a 1� margin around all four sides of the board.

Cut the material to size.

5. Spread an even coating of glue on each board and press in center of the covering material. Turn over and rub with hand and then with bone folder.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Accordion Style Book, continued 6. Using two board widths as a guide, measure corners and then cut on that line.

7. Glue down the two side strips and then the remaining sides.

8. Use the bone folder to press down and to smooth corners.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Accordion Style Book, continued 9. Align the board and papers. Put glue on last page. Place sheet of wax paper between that page and the next. Carefully set on the board. Check position and make adjustments if necessary before you rub down with bone folder.

10. Turn over. Put glue on the front page. Be sure to continue placing sheets of wax paper between each page. Arrange the book with glued board down and pages up. Place other board on top. Check edges to be sure all are aligned. Place a weight on top the entire book while drying.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Portfolios A portfolio is designed to hold loose papers and may serve as a carrying case or file for clippings, mounted pictures, photographs, paintings, etc. It can be less than 9” by 12” or as large as 24” by 36”. The use determines the dimensions. In its simplest version, it is composed of two identical cardboards hinged together with cloth.

Materials: Cloth Cardboard Glue Ties/Cord

Tools: Bone folder or similar tool Metal-edged ruler or ruler plus metal straightedge X-acto knife

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Portfolios, continued Process

1. Cut the cloth about 2” longer than the cardboard draw a line or crease down the center and indicate the distance between the two cardboards by drawing two lines, one on each side of the center, as far apart as desired.

2. Draw another line at the top and bottom where they touch the cloth.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Portfolios, continued 3. Paste on one side of the marked cloth, lay the cardboard in place, turn over and rub well with a bone folder to get out all the wrinkles.

4. Repeat the process on the opposite side so that the boards line up evenly.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Portfolios, continued 5. For a stiff spine, paste a cardboard strip down the center of the hinge, leaving a space of 1/8" to 1/4” on either side, depending upon the size of the portfolio and the thickness of the cardboard.

6. Paste down the top and bottom flaps on the inside.

7. Place a lining of cloth or heavy paper on top about 1/8” from the top and bottom edges.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Portfolios, continued 8. A decorative design can be printed or painted directly on the cardboard or a cover of paper or cloth can be used.

9. Ties may be used on the portfolio. Cut to length materials like tape, cord, yarn, shoestrings, fabric or whatever seems appropriate.

10. Make a slit in the cardboard with a sharp knife or razor blade.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Portfolios, continued 11. Pull through the ties.

12. Paste loose ends to the inside.

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

BOOKBINDING LESSON PLANS

Portfolios, continued 13. Fasten with a knot to close the portfolio.

14. Another kind of fastening is shown as well.

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ADDITIONAL RESOURCES

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

Assessment Rubric OBJECTIVES

EXEMPLARY

ACCOMPLISHED

DEVELOPING

EMERGING

1

COMMON CORE ELA-ANCHOR STANDARDS APPLIED

NATIONAL CORE ARTS ANCHOR STANDARDS APPLIED

4

3

2

1. Through the

The work illustrates

The work illustrates a

making of the visual

a highly successful

successful sense of

The work illustrates

The work illustrates

CCSS.ELA-Literacy.

VA:Cr1.1

some sense of

an indifferent sense

CCRA.R.1,2,3,7

imagery, the student’s

sense of obsession

VA:Cr1.2

obsession through the

obsession through the

of obsession through

work is driven by

through the repetition

repetition of subject,

repetition of subject,

the subject,

CCSS.ELA-Literacy.

passion and ideas

of subject, technique

technique or theme.

technique or theme.

technique or theme.

CCRA.SL.4

found in self-taught

or theme.

artists/art (i.e. from

There is a narrative

There is an emerging

There is no story

close reads,

There is a compelling

demonstrating

story with some

and little evidence of

materials, lectures,

narrative

some informed

appropriations of self-

appropriation of self-

Intuit or other

demonstrating

appropriations of

taught artists and art.

taught artists and art.

museum visit, etc.).

well-informed

self-taught artists

.

appropriations of

and art.

VA:Cn10.1

self-taught artists and art.

OBJECTIVES

EXEMPLARY

ACCOMPLISHED

DEVELOPING

EMERGING

1

COMMON CORE ELA-ANCHOR STANDARDS APPLIED

NATIONAL CORE ARTS ANCHOR STANDARDS APPLIED

4

3

2

2. The student

Materials and media

Materials and

builds and presents

used illustrate well-in-

media used illustrate

Some materials and

Materials and media

CCSS.ELA-Literacy.

VA:Cr2.1

media used

used demonstrate

CCRA.SL.2,5

VA:Cr2.2

knowledge of the

formed decisions

self-taught artist and

using found and

informed decisions

demonstrate using

very little use of found

using found and

found and

and repurposed

CCSS.ELA-Literacy.

art through creating

repurposed materials.

repurposed materials.

repurposed materials.

materials.

CCRA.W2,4,5

non-traditional

The student uses

The student uses

The student uses

The student uses

methods and

eclectic combinations

combinations that

superficial

no resonance with

materials (i.e.

that create new

create an under-

combinations that

the materials (i.e.,

artwork, artist

meaning by

standing of working

begin some

materials are not

statements, essays,

consciously working

within the limits of the

resonance with the

repurposed, craft

pre/post assessments,

within the limits of the

materials.

materials.

materials pretending

Intuit or other

materials.

VA:Pr5.1

visual imagery using

museum visit, etc.).

to be “found’, .

predictable combinations).

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ADDITIONAL RESOURCES

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

Assessment Rubric, continued OBJECTIVES

EXEMPLARY

ACCOMPLISHED

DEVELOPING

EMERGING

1

COMMON CORE ELA-ANCHOR STANDARDS APPLIED

NATIONAL CORE ARTS ANCHOR STANDARDS APPLIED

4

3

2

3. The student

The student uses

The student uses

illustrates research

highly passionate and

passionate and

The student uses

The student exhibits

CCSS.ELA-Literacy.

VA:Cr2.3

some passionate

very little awareness

CCRA.R.1,2,3,7

through the

idiosyncratic choices

VA:Cr3.1

idiosyncratic choices

choices beginning to

of connecting with the

integration of self-

to connect with the

to connect with the

connect with the story

story of self-taught

CCSS.ELA-Literacy.

VA:Pr5.1

taught artists and

story of self-taught

story of self-taught

of self-taught artists

artists and art.

CCRA.SL.1,2,4,5

VA:Pr6.1

art by building and

artists and art with

artists and art.

and art.

presenting through

confidence.

The work expresses

CCSS.ELA-Literacy.

CCRA.W.8,9

visual imagery, text

VA:Re7.1

The work expresses

The work expresses

little effort on the

and/or speaking

The work strongly

a developed effort to

some effort to take

influence of self-

(i.e. close read,

expresses a highly

take the influence of

the influence of

taught artists and art

presentation, lesson

developed effort to

self-taught artists and

self-taught artists and

and exhibits minimal

plan, Intuit or other

take the influence of

art to a level at which

art to a level at

personal connection.

museum visit).

outsider art to a new

it communicates

which it begins to

level, at which it

a visible personal

communicate a

The student’s work

communicates a

connection.

personal connection.

is presented in the

deep and visible personal connection.

VA:Cn10.1

usual and expected The student

The student

demonstrates a

demonstrates a

The student

comprehension of

beginning

demonstrates a highly

self-taught artists’

comprehension of

developed

passionate and

self-taught artists’

comprehension of

idiosyncratic choices

passionate and

self-taught artists’

and the purpose,

idiosyncratic choices

passionate and

location and audience

and the purpose,

idiosyncratic choices

of the production and

location and audience

and the purpose,

presentation of

of the production and

location and audience

the work.

presentation of

of the production and

VA:Pr4.1

contexts.

the work.

presentation of the work.

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ADDITIONAL RESOURCES

INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

Assessment Rubric, continued OBJECTIVES

EXEMPLARY

ACCOMPLISHED

DEVELOPING

EMERGING

1

COMMON CORE ELA-ANCHOR STANDARDS APPLIED

NATIONAL CORE ARTS ANCHOR STANDARDS APPLIED

4

3

2

4. When reflecting

The student’s work

The student’s work

through observation,

illustrates highly de-

illustrates developed

The student’s work

The student’s work

CCSS.ELA-Literacy.

VA:Cr3.1

begins to show

lacks evidence of self-

CCRA.R.1,2,3

discussion, interpre-

veloped evidence of

VA:Pr4.1

evidence of original,

evidence of original,

taught visual imagery

tation and analysis,

original, imaginative

imaginative and

imaginative and

and history.

the student presents

and inventive artic-

inventive articulation

inventive articulation

evidence of self-

ulation of self-taught

of self-taught visual

of self-taught visual

taught visual imagery

visual imagery and

imagery and history.

imagery and history.

and history

history.

VA:Pr5.1 CCSS.ELA-Literacy.

VA:Re7.1

CCRA.SL.1,2,4,5,6

VA:Re8.1 VA:Cn11.1

CCSS.ELA-Literacy.

CCRA.W 4,5,7,9

(i.e. close read, pre/ post assessments,

CCSS.ELA-Literacy.

lesson plan, pre-

CCRA.L.3,4,6

sentations, Intuit or other museum visit).

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

ADDITIONAL RESOURCES

Recommended Resources Articles “He Was Crazy Like a ... Genius?” Sarah Boxer, The New York Times www.nytimes.com/2000/09/16/arts/he-was-crazy-like-genius-for-henry-darger-everything-began-ended-with-little.html?mcubz=0

“The Bizarre Visions of a Reclusive Master,” Tessa DeCarlo, The New York Times www.nytimes.com/1997/01/12/arts/the-bizarre-visions-of-a-reclusive-master.html?mcubz=0

“Vivam! The Divine Intersexuality of Henry Darger’s Vivian Girl,” Leisa Rundquist, Elsewhere: The International Journal of Self-Taught and Outsider Art, Issue #2, May 2014. www.stoarc.com

“Lord of the Lolitas,” Jerry Saltz, Village Voice www.villagevoice.com/2001/12/25/lord-of-the-lolitas/

“The Moral Storm: Henry Darger’s Book of Weather Reports,” Lytle Shaw, Cabinet Magazine Online www.cabinetmagazine.org/issues/3/henrydarger.php

“Folks,” Peter Schjeldahl, The New Yorker www.newyorker.com/magazine/2002/01/14/folks

More articles to discover and explore can be found at: www.officialhenrydarger.com/texts/

Films Revolutions of the Night: The Enigma of Henry Darger Mark Stokes, 2012 UK | 104 minutes www.dargerfilm.com/

In the Realms of the Unreal Jessica Yu, 2004 US | 81 minutes www.pbs.org/pov/intherealms

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INTUIT’S HENRY DARGER RESOURCE KIT FOR EDUCATORS

ADDITIONAL RESOURCES

Recommended Resources, continued Darger’s Room 1973 Coleen Fitzgibbon and Michael S. Thompson, 1973 US | 21 minutes, no sound .archive.org/details/XFR_2013-08-17_2A_02

The Good Stuff: The Secret Life and Art of Henry Darger PBS Digital Studios, 2016 US | 8 minutes www.pbs.org/video/2365759282

Books Henry Darger Klaus Biesenbach (with Brooke Davis Anderson, Michael Bonesteel and Carl Watkins), Prestel Press, 2009.

Henry Darger: Art and Selected Writings Michael Bonesteel, Rizzoli, 2001.

Henry Darger, Throw-Away Boy: The Tragic Life of an Outsider Artist Jim Elledge, The Overlook Press, 2013.

Henry Darger’s Room Yukiko Koide, Imperial Press, 2007.

Henry Darger: In the Realms of the Unreal John MacGregor, Delano, 2002.

Henry Darger’s written works, The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion and Further Adventures in Chicago: Crazy House are both available to view on microfilm in Intuit’s Robert A. Roth Study Center. More information can be found at www.art.org/education/robert-a-rothstudy-center/

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Henry Darger (American, 1892-1973. To escape forest fires they enter a volcanic Cavern. Are helped out of cave, trap by Blengiglomenean Createns. / PERSUED BY FOREST FIRES, PROVING THE BIGNESS OF THE CONFLARRATION IT IS 40 MILES AWAY AND ADVANCING FAST. / How when they were put in a rat infested cell, they by using the rats and even a few mice they caught they managed to escape after being persued and hounded. (double-sided) (detail), mid-twentieth century. Watercolor, pencil, and carbon tracing on pieced paper, 19 × 70 ½ in. Collection American Folk Art Museum, New York, museum purchase © Kiyoko Lerner, 2000.25.1A, Photo Credit: James Prinz © American Folk Art Museum / Art Resource NY © 2018 Kiyoko Lerner / Artists Rights Society (ARS), New York

INTUIT: THE CENTER FOR INTUITIVE AND OUTSIDER ART 756 N MILWAUKEE AVENUE CHICAGO, IL 60642 ART.ORG

Henry Darger Room Collection Photo by John Faier

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