RAWVISION OUUTTSSI IDDEERR •• BBRRUUTT •• FFO OLLKK •• N NAAI IVVEE •• I IN NTTUUI ITTI IVVEE •• VVI ISSI IO ON NAARRYY O
CJ PYLE ALOÏSE CORBAZ M R I M A G I N AT I O N JOHN DANCZYSZAK SP DINSMOOR C O N T E M P O R A RY B R U T
RV 76 FALL/AUTUMN 2012 DIGITAL
RAWVISION76 FALL/AUTUMN 2012
CONTENTS 4
RAW NEWS Outsider events and exhibitions around the world
WORLD’S BEST ART MAGAZINE
MEDAILLE DE LA VILLE DE PARIS
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FIRE & REDEMPTION One of Mr Imagination’s final interviews. With Ramona Austin
UTNE INDEPENDENT PRESS AWARD
AMERICAN FOLK ART MUSEUM VISIONARY AWARD
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ALOÏSE CORBAZ Céline Muzelle discusses the evolution of the work of this classic outsider
Editor John Maizels Directors Henry Boxer, Sam Farber, Robert Greenberg, Audrey Heckler, Rebecca Hoffberger, Phyllis Kind, Frank Maresca, Richard Rosenthal, Bob Roth Art Editor Maggie Jones Maizels Senior Editor Julia Elmore Features Editor Nuala Ernest Editorial Assistant Natasha Jaeger Managing Editor Carla Goldby Solomon Accounts Manager Judith Edwards Subscriptions Manager Suzy Daniels US Assistant Ari Huff French Editor Laurent Danchin Contributing Editors Michael Bonesteel, Jenifer P. Borum, Roger Cardinal, Ted Degener, Edward Madrid Gomez, Jo Farb Hernandez, Tom Patterson, Charles Russell Advertising Manager Charlie Payne tel 717 666 3200 fax 717 689 4566 cell 717 572 2175 adsalespro@comcast.net
Published by Raw Vision Ltd PO Box 44, Watford WD25 8LN, UK tel +44 (0)1923 853175 email info@rawvision.com website www.rawvision.com
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GARDEN OF EDEN RESTORATION John Foster visits Samuel Perry Dinsmoor’s Kansas environment
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LOW TECH AND LOUD Mike Noland talks to CJ Pyle about his art and influences
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WAITING FOR GOD’S ENVOY Barbara Herbin looks at the detail of John Danczyszak’s work
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ISSN 0955-1182
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cover image CJ Pyle, Johnny Come Home Raw Vision published quarterly by Raw Vision Ltd #76 Fall 2012. Printed in EU. Subscription Price $49 USPS No. 017-057 Periodicals Postage Paid at Emigsville, PA Distributed by Priority Post, 95 Aberdeen Road, Emigsville, PA 17318–0437 Subscription office: 163 Amsterdam Ave. #203, New York, NY 10028. (Standard envelopes only) Postmaster send address corrections to: Raw Vision, c/o WorldNet-Shipping, 6-10 Nassau Ave, Inwood, NY 11096, USA
SUE KREITZMAN An introduction to London-based artist and exhibition curator
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CONTEMPORARY ART BRUT? Barbara Safarova discusses the point at which art brut meets contemporary art
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W W W. R AW V I S I O N . C O M
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RAW REVIEWS Exhibitions and books
OR FILL IN THE FORM ON PAGE 64
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GALLERY AND MUSEUM GUIDE
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Britain.
HOUSE OF DREAMS
stephen wright
Stephen Wright’s home consists of rich tapestries, with mosaics created from discarded everyday life objects. Open day on September 1. 45 Melbourne Grove, East Dulwich, London SE22 8RG, UK tel: +44 (0)208 299 3164, www.stephenwrightartist.co.uk
madge gill
until early 2013 The Nunnery Gallery launches in summer 2012 with three ten-week exhibitions of work by Madge Gill from the Borough of Newham collection, accompanied by a programme of talks, walks and symposia. The Nunnery, 181 Bow Road, London, E3 2SJ, UK tel: +44 (0)20 8709 5292. www.bowarts.org
PALLANT HOUSE GALLERY
GÉRARD QUENUM
BETHLEM
October 26, 2012 – February 3, 2013 Pallant House Gallery’s arts agency, Outside In, provides a platform for artists who find it difficult to access the art world. The exhibition Outside In: National displays works selected from over 2000 submissions, with artists given the chance to win one of six awards offering the opportunity of a solo show in the Gallery. A parallel exhibition focuses on Jean Dubuffet’s career from the early 1960s, when he finished working on Paris Circus and embarked on the L’Hourloupe cycle. PALLANT HOUSE GALLERY, 9 North Pallant, Chichester PO19 1TJ, UK www.pallant.org.uk, www.outsidein.org.uk, tel: +44 (0)1243 774557
September 20 – October 27, 2012 Gérard Quenum’s Dolls Never Die features a series of new sculptures and an installation composed of recycled objects. Through his distinct sculptural style using urban detritus, Quenum depicts whimsical ‘portraits’ of individuals observed in his local environment in Benin, Africa. OCTOBER GALLERY 24 Old Gloucester Street, London, WC1N 3AL, UK tel: +44 (0)20 7242 7367 www.octobergallery.co.uk
until November 3, 2012 The Archives and Museum at Bethlem Royal Hospital displays a selection of British Outsider Art, featuring works by Madge Gill, Scottie Wilson, Von Stropp and Jonathan Martin. BETHLEM ROYAL HOSPITAL Monks Orchard Road, Beckenham, Kent, BR3 3BX, UK tel: +44 (0)20 3228 4307 www.bethlemheritage.org.uk
gérard quenum
jonathan martin
carlo keshishian
jean dubuffet
BISPO AT V&A
WEST AFRICA ART
until October 28, 2012 The V&A showcases the creativity of Brazilian outsider Arthur Bispo do Rosário (1909-1989), displaying over 80 sculptures, hand-embroidered banners and garments, conveying Bispo’s fascination with the reappropriation of everyday objects into elaborate sculptural pieces. Victoria & Albert Museum, Cromwell Road, London, SW7 2RL, UK tel: +44 (0)20 7942 2000 www.vam.ac.uk
until September 16, 2012 Through sculptural installations, painting, drawing, photography, textiles, video, sound and fashion, We Face Forward explores the links between Manchester and West Africa as part of the London 2012 cultural festival over the Olympic summer. A city-wide exhibition spread across Manchester Art Gallery, Whitworth Art Gallery and the Gallery of Costume (Platt Hall). www.wefaceforward.org arthur bispo do rosário
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meschac gaba
MADGE GILL AT THE NUNNERY
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France. Germany.
LINARD UPDATE
September 8 – October 13, 2013 The Galerie Christian Berst presents recent discoveries and acquisitions. Featured artists include Lubos Plny (Czech Republic), Saito (Japan) and Beverly Baker (USA), along with well-known artists such as Louis Soutter, George Widener, Raphaël Lonné and Adolf Wölfli. From October 19, the gallery showcases American artist Charles Steffen (1927-1995), who created drawings on brown paper bags with graphite and coloured pencils. GALERIE CHRISTIAN BERST, 3/5 Passage des Gravilliers, 75003 Paris, FRANCE tel: +33 (0)1 53 33 01 70, www.christianberst.com
Following a preservation campaign, Jean Linard’s Cathedral reopened for visitors this summer, with a call for private donations also launched. LA CATHÉDRALE DE JEAN LINARD Les Poteries - 18250 Neuvy-DeuxClochers, FRANCE http://fr.ulule.com/cathedrale/ jean linard
CHRISTIAN BERST
until October 29, 2012 INVENTEUR showcases French inventor Jean Perdrizet whose plans of inventions have attracted the interest of researchers as they echo ideas from scientists of the time, depicting computer-like machinery. MUSÉE GASSENDI 64, Boulevard Gassendi, 04000 Digne-les-Bains, FRANCE tel: +33 (0)4 92 31 45 29, www.musee-gassendi.org jean perdrizet
PERDRIZET’S INVENTIONS
LOUIS SOUTTER until September 23, 2012 Emphasising the modernity of Louis Soutter, most of these 200 works have never been shown in public before and include sketched interpretations of classical works. LA MAISON ROUGE Fondation Antoine de Galbert, 10 Bd De La Bastille – 75012 Paris, FRANCE tel: +33 (0)1 40 01 08 81 www.lamaisonrouge.org
MORTON BARTLETT
until September 23, 2012 The Prinzhorn Collection presents unseen and unheard I – CoRPo SaNTo, a video installation by Mauricio Dias and Walter Riedweg showing the reception of works from Heidelberg by patients from the Psychiatric University Hospital in Rio de Janeiro. From October 25, the exhibition continues with a video installation by Javier Téllez, whose piece is concerned with the fate of the collection during the Nazi period. MUSEUM PRINZHORN COLLECTION Voßstr. 2, D-69115 Heidelberg, GERMANY tel: +49 (0)6221 / 56-47 39, www.prinzhorn.uni-hd.de
until September 23, 2012 The third exhibition in the Secret Universe series at Hamburger Bahnhof showcases the work of American artist Morton Bartlett (1909-1992). The retrospective includes 42 black and white photographs, pencil drawings and hand-made dolls. HAMBURGER BAHNHOF - MUSEUM FÜR GEGENWART Invalidenstraße 50-51, 10557 Berlin, GERMANY tel: +49 (0)30 3978 3411, www.hamburgerbahnhof.de
javier téllez
HEIDELBERG VIDEOS
morton bartlett
BHN CALL FOR ARTISTS BHN (Biennale Internationale d'art Hors les Normes) announces an opportunity to participate in the creation of the fifth BHN for ten days in Lyon in October 2013. National and international artists are invited to send proposed works along with contact details and a stamped return envelope by October 31, 2012. Final selection in January 2013. BHN / La Sauce Singuliere Atelier La Rage, 33 Rue Pasteur 69007 Lyon, FRANCE tel: +33 (0)4 37 28 51 27 www.art-horslesnormes.org, www.horslesnormeslyon.over-blog.com
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louis soutter
beverly baker
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USA.
DEBORAH BARRETT until October 31, 2012 Bay Area artist Deborah Barrett’s love of old ephemera and antique paper has inspired a new series of drawings. Barrett was recently teaching in Afghanistan where the rare manuscript pages she uses were mostly destroyed in the Russian invasion and following wars. THE AMES GALLERY 2661 Cedar Street, Berkeley, CA 94708 tel: 510 845 4949, www.amesgallery.com
HAITIAN ART
DANIEL TROUT
October 11 – 15, 2012 The five day programme for the 25th Annual Conference of the Folk Art Society of America includes a symposium on Georgia folk art at the High Museum of Art; tours of private and public folk art collections; trips to Athens, Dahlonega, and Madison, Georgia; a folk art benefit auction; and a barbecue at auctioneers Steve and Amy Slotin’s home. The deadline for conference reservations is October 1, 2012. FOLK ART SOCIETY OF AMERICA P. O. Box 17041, Richmond, VA 23226 tel: 804 355 6709 / 1 800 527 3655 for a brochure www.folkart.org
September 16, 2012 – January 20, 2013 In Extremis: Death and Life in 21st Century Haitian Art features 70 mixed-media works by established and selftaught artists, with industrial cast-off sculptures by André Eugène; textiles by Roudy Azor and Myrlande Constant depicting the 2010 earthquake; paintings by Mario Benjamin and Jean-Michel Basquiat; and site-specific installations by Maksaens Denis and Akiki Baka. FOWLER MUSEUM AT UCLA Los Angeles, CA, 90095 tel: 310 825 4361, www.fowler.ucla.edu
August 3 – October 7, 2012 blackwater creek gallery The showcases assemblages by Daniel Trout in the exhibition Pigments and Found Objects Theater. blackwater creek gallery 845 Belmont St Lynchburg, VA 24504 tel: 434 846 0403 www.blackwatercreekgallery.com
lanier meaders
FASA CONFERENCE
andré eugène
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daniel trout
deborah barrett
photo: ron gordon
MR IMAGINATION COMMEMORATION EVENTS The untimely death of Mr Imagination in Atlanta on May 30 has led to several memorial events. On June 22, art lovers in Atlanta gathered to celebrate the life of Mr Imagination at Hottie Hawgs BBQ, just around the corner from Mr Imagination’s Garden of Peace. The Downtown Bethlehem Association had a ceremonial ‘Procession of Remembrance for Mr. Imagination’ on July 6, where friends and fans made pilgrimage to several key places associated with Mr Imagination and viewed a temporary ‘angel altar’ installation of some of his artworks on loan from his Leigh Valley friends. In Baltimore, Brian Dowdall has proposed plans for a memory wall at Art Park Project. A memorial display will also be held at Halle Saint Pierre, Paris.
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USA.
TOP DRAWER September 3 – 28, 2012 Raw Visions at Top Drawer at The Brass features works by Myles Payton and Steven Green. TOP DRAWER ART AT THE BRASS 16 Cutler St., Warren, RI 02885 tel: 401 289 2894 www.topdrawer.squarespace.com
henry darger
alan aiello
MoMA MAKES HISTORIC DARGER ACQUISITION A turning point in outsider art history, MoMA has acquired a major group of drawings by Henry Darger, one of the most iconic self-taught artists of the twentieth century. A gift from the estate of the artist, the thirteen double-sided drawings represent the largest acquisition by MoMA of work by a self-taught artist. The group primarily comprises examples of Darger’s large-scale watercolours and also includes a smaller collage portraying his practice of clipping images from popular sources. Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings at MoMA, says: ‘This group of drawings, together with two major works already in MoMA’s collection, will allow a full reading of Darger’s major themes and influences, as well as his working techniques.’ THE MUSEUM OF MODERN ART, 11 West 53 Street, New York, NY 10019, USA tel: 212 708 9400, www.moma.org
LAUREL HAUSLER
PLOPLE’S WATERCOLOURS
October 6, 2012 – September 1, 2013 With the All Things Round exhibition continuing until September 2, 2012, depicting the circularity of life, AVAM’s eighteenth annual, thematic exhibition follows on October 6. THE ART OF STORYTELLING: Lies, Enchantment, Humor & Truth explores the power of storytelling through embroidery, diorama, sculpture, film and graffiti. AMERICAN VISIONARY ART MUSEUM 800 Key Hwy, Baltimore, MD 21230 tel: 410 244 1900, www.avam.org
until September 2012 After taking up residence in Harbor View House, a residential home for adults with learning disabilities in San Pedro, California, Harold Plople (1946-2012) overcame a diagnosis of depression and schizophrenia and battled drugs, alcohol and cancer. Plople portrayed marginal subjects through his sophisticated watercolour works. JUST FOLK, 2346 Lillie Avenue, PO Box 578, Summerland, California 93067 tel: 805 969 7118, www.justfolk.com
mars tokyo
STORYTELLING AT AVAM
laurel hausler
until October 31, 2012 Facing Our Selves induces deep explorations from painter of faces Laurel Hausler. GALLERY IN THE WOODS, 145 Main Street, Brattleboro, Vermont 05301 www.galleryinthewoods.com
DVD RELEASE Adam Mark Brown’s experimental documentary film of Kentucky’s modern folk artists Ronald and Jessie Cooper explores the couple’s personal struggles and triumphs based upon their artwork of heaven and hell. DVD available at cooperfolkart.com. tel: 513 252 9864 ghostheadarts@gmail.com
harold plople
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OBITUARIES
photo: Ted Degener, Bethlehem, PA, 2005
GREGORY WARMACK aka MR IMAGINATION 1948 – 2012 Gregory Warmack, widely known as ‘Mr. Imagination,’ was laid to rest on June 4 following a funeral service in Atlanta, where he died on May 30 of complications from a blood infection. Known to friends and associates as ‘Mr. I,’ he was not only a prolific, brilliantly creative visionary artist, but a generous, charming, genuinely sweet-natured individual. Born in Chicago in 1948, he was one of nine children raised by a single mother in several of that city’s poorest neighbourhoods, and he grew up surrounded by hardship. He started making art as a child but never took an art course, and he dropped out of school after the ninth grade. As a youth he painted rocks, carved miniature masks out of tree bark and made decorative pins and pendants from broken and castoff jewellery. When he was 30 he was robbed and shot point-blank in the stomach late one night in his neighbourhood. The assault left him hospitalized and comatose for six weeks. During that interval he had what he described as an out-of-body experience in which he saw visions of ancient cultures. It took him a year to recover from his injuries. The next phase of his career was prompted by his discovery of a dumping ground for industrial sandstone – blocks of sand fused together as a byproduct of the steel-casting process. He began salvaging this material and carving it into elaborate, figurative sculptures. Around this time he adopted the moniker Mr. Imagination, spontaneously bestowed on him by a friend. In the early 1980s Mr. I’s work attracted the attention of Carl Hammer, owner Chicago’s Carl Hammer Gallery. Hammer gave Mr. I his first formal exhibition and was the primary dealer of his art for many years. In the late 1980s Mr. I started making art out of bottle caps and old, stiffened paintbrushes. Using cement, putty, paint and other materials, he transformed the paintbrushes into masklike sculptures that became his signature pieces. He used the bottle caps to ornament or cover the surfaces of his totem poles, throne-like chairs, and regallooking accoutrements, including some of his clothing. In 2002 Mr. I left Chicago and settled in Bethlehem,
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Pennsylvania, where he lived until a fire in 2008 destroyed his home and several hundred of his artworks. In 2009 he relocated to Atlanta, Georgia, where he settled in a small house that he filled with his art. When I visited him there last fall he seemed to be thriving in every sense. At the time he had a well-received solo show at Barbara Archer Gallery, one of that city’s premiere contemporary art venues. Some of the most powerful pieces in the latter show were fire-blackened sculptures he had salvaged from the charred ruins of his former home in Bethlehem. About 100 of us – family members, museum directors, curators, art dealers, fellow artists and other friends from across the country – attended Mr. I’s uplifting, high-spirited funeral. We did our best to send him off in appropriate fashion with a rousing rendition of the traditional gospel song ‘I’ll Fly Away.’ Tom Patterson Mr. Imagination always insisted that he was just an artist, not a ‘bottle cap artist’ or ‘outsider artist.’ For him the vocation of artist meant someone who lives their dreams and uses their imagination to transform the mundane into something wondrous. He did that every day of his life. Our lives are fraught with hardships, but for most of us it takes an artist who makes his dreams public to enable us to witness again the imaginative possibilities of life. His move to Atlanta was in this sense an effort to catch the spirit of the phoenix that rises from the fires of adversary. And now we have lost an angel of imagination who unfortunately spent too little time with us on this planet. It is our task to honour and cherish his sojourn with us – to remember his legacy, his knowing and mischievous smile, his fondness for burgers from McDonalds, his care for animals, his devotion to children and community, his magical ability to transform the lowliest things into jewels, his singing of ‘Summertime,’ his twisted apostrophe of a beard, his boundless friendship, and the gifts of renewed and recycled life that he gave to all of us. Norman Girardot
FIRE AND REDEMPTION In one of his final interviews, Gregory Warmack aka Mr. Imagination spoke to Ramona Austin
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first met Gregory Warmack, known as Mr. Imagination or Mr. I., in 1987 when I came home to Chicago taking a post at the Art Institute of Chicago as a curator for African Art. That was some four years after his first solo show at the Carl Hammer Gallery and he was becoming very well known. Reconnecting after some years on different paths, Mr. Imagination and I found our lives converging around similar interests. Mr. Imagination had just emerged phoenix-like from a second traumatic fire that changed his life and forced him to face the huge loss of his beloved animals, and the damage and destruction of artwork and books of which he had a prolific production and personal collections. I found his journey a remarkable metamorphosis and testimony to the healing power of creativity to forge a path of regeneration and renewal.
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There are many myths about self-taught artists as artists. Especially black men are mythologised as emerging from lives of poverty and prison into the redemptive power of art. While this describes the lives of some African American artists, it too easily glosses over the complexity of societal issues impacting the lives of black Americans. These social paradigms are linked to the brutal historic arc of racial struggle that stretches from slavery to the present day. The details of Mr. I’s life were richly nuanced. He was a gentle and sensitive man who sought to minister to others through art. He was always a professional as he managed what became an international reputation as a self-taught artist. Following is an interview with Mr. Imagination in August 2011 about the effect of the destructive force of fire in his life, which also proved to be a hard and painful path to personal survival and creative growth.
Ramona Austin: You are not only a maker of art, but also a collector of artwork. Mr. Imagination: Also not only a collector of art. I also collect some major books, old rare books, one on Picasso, books on history. Years ago, I found old paintings from Germany. Lots of that burnt.
Did self-taught artists do these German paintings? I kept a record of artists’ names in a book. I also had a collection of old stamps. Had some from 1899 on old deeds from Chicago when they were selling land. For many years people thought I only do artwork. But I collect other things like history, not just America but the World. How does this impact your work? This had nothing to do with my work. This is another part of me I have never shared with anyone. I had collected old lithographs from the Civil War. I had quite a few of them. There are things about history I loved to collect even from my teenage years. I still have some books. Even some of the books that got burnt I have. I want to put them on display to share what happens to books that got burnt. I have five books on the value of land in Chicago. They got wet and I stacked them into a work – a piece. They are all stacked on a concrete base I made. The piece became a sculpture. So this becomes a healing piece from the fire. You’ve had two fires. My first fire, I had just moved from a place with a slumlord. This had happened a day before my birthday. My sister came and said my house had caught fire. I ran there and it was burnt. This was the place you were moving to? No, the place I was moving from. This was in Chicago? Right, on the south side. For you, what was the result of that fire? I did lose a lot of work. Some of the sandstone that survived the first fire survived the second fire. Some of these pieces were pieces Carl Hammer had at my first show at his gallery on Michigan Avenue. What year was this? I don’t know. Call Carl and ask him. (1) He came there to the burnt place around the same time I met him. Also, Cheri Eisenberg, a friend of Carl Hammer, I think, took pictures. Carl now owns three of these pieces from the Chicago fire. I think he still has them in his collection. And then with this other place I moved to, I think that the dining room had a red carpet and I found a bunch of old bricks. I made a long path of bricks on both sides that became a shrine of the burnt work. I found a photo of that. One of them had a very large sculpture of Harold Washington, the first black mayor of Chicago. That was part of that shrine. So the experience of fire before the second fire moved you to create work. Each time was very painful. Even more the second time because work was stolen from me. I also lost my dog, three adult cats, three small kittens, black and white [from the first fire] . One was all black. Their names were Peace, Love and Ann. I had to put boards on windows because work was continuing to be stolen, from the first fire as well. Where was the second fire? Bethlehem, Pennsylvania. That fire happened a day before [Martin Luther] King’s birthday. I find that
strange – the first fire was a day before my birthday and the second fire was a day before King’s birthday.
You were in a very different community the second time. The first was inner-city Chicago in a black neighbourhood. In the second, you were the only one, or one of the few African Americans there. It was around the corner from Lehigh University.
opposite page From the Ashes (Ping-Pong Paddle Head), mixed media, 10 x 8 x 3 ins., 25.4 x 20.3 x 7.6 cm.
Why did you move to this place? Well, I thought to bring my work there thinking that they would understand it. The streets were named for the Bible. Everyone thinks that Professor Norman Girardot of Lehigh University persuaded me to move there, but I decided on my own. Before the [first] fire, I was planning on moving from there to New Orleans. Why New Orleans? Everybody said my work looked like it was from there. I had the opportunity to move. I fell in love with it because of the spirit there. I felt connected to the place more so than Bethlehem. Was it the biblical names of the streets that drew you to Bethlehem? Yes, that was the thing that drew me there because ministry runs in my family. And it was predicted by my great-great aunt, who was a minister, that I would be one. And I feel I am within my artwork. Did your family come to Chicago from the South? I believe so. I need to talk to my mother about that. Where do you think your family came from? I need to ask her. I think it was Louisiana some place. I have to ask her. (2) Were you born in Chicago? Yes, at Cook County hospital. But you know as I was growing up I was much more of a loner. I kind of stayed more to myself. Well, you know I am from Chicago and we have similar family backgrounds. Getting back to your work and the fires, what part has fire played in the making of your art? [After the second fire] I stopped making artwork for about a year. For some reason, I refused to leave the burnt work. To everyone else, they could care less. Like the door, I refused to leave the bottle caps that came from the floor. (3) Everything came out in black plastic bags because they were like ice. I got other work. I have two works by Purvis Young that almost got burnt. I have that one. Also in my office I found some works by Howard Finster, but I have those as well. I got the other artists’ work out not just mine. I can say one thing. In the past I have donated more work than I sold to many organisations. Of course, they did raise funds. Some of the organisations that I really supported over and over – I do not hear from one of them. They assume I have no work. I have a mixed feeling about that sometimes. When this story comes out about the fire, it was said, ‘Mr. I’s house burnt down to the ground.’ It did not, but nobody contacted me. You are the first person I am speaking to about the fire. When I was in Florida when I had a show, two shows, in the city of Winter Park, (4) I had a dream about my dog Pharaoh rippin’ and runnin’ in a park, and the next day I was to meet an artist. A friend was walking with me. And as we were walking, on my right was a very tall dark shadow of someone like in a dark robe. I said, ‘Did you see that?’ He said, ‘No, you are seeing things.’ I didn’t think any more of it. Later that night at 3 a.m., someone called. I thought it was a
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THE ART OF ALOÏSE: A LONE CONTINENT?
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With the establishment of an online catalogue raisonné, Céline Muzelle discusses the evolution of the work of Aloïse Corbaz
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t is now possible to access all known works by ‘Aloïse’ (Aloïse Corbaz, 1886–1964) via an online catalogue raisonné. With descriptions and commentary by Jacqueline Porret-Forel, who has interpreted Aloïse’s art since 1941 and with whom I have written the catalogue, this online resource has been edited by the Fondation Aloïse and the Swiss Institute for Art Research. It inventories over 2,000 compositions taken from 351 double-sided and 420 single-sided works, 43 exercise books of drawings or paintings and 20 scrolls, which are works of two metres or more and are composed of several scenes. The general public can now explore the evolution of an artist who, despite her longstanding fame in the field of Art Brut, has been relatively little-known in the contemporary art world. The catalogue brings together a rich and varied corpus including works selected by Dubuffet for
his Art Brut collection from 1946 onwards, the origin of Aloïse’s fame. These works – among the most complex and typical of her art – are mostly large-scale drawings and paintings, often on discarded paper such as wrapping paper, sheets of cardboard and gift wrap, which the artist would iron, mend and sew together. (1) They offer a wealth of mingling, sensuous figurative forms that intimately incorporate her numerous annotations. The majority present one main scene that is composed of a somewhat hieratic couple with blue-swathed eyes, often accompanied by minor scenes on a smaller scale. (2) The latter are themselves inhabited by a diversity of other forms and characters, bringing movement to the composition and completing the theme. They may represent other couples, children depicted as miniature women, popes and other ecclesiastical dignitaries, the Bon Enfant (the local embodiment of Father Christmas in the canton of Vaud,
Translated by Heather Turin.
opposite Grande cantatrice Lilas Goergens, 1960 – 1963, (5th period) crayons on paper, 25.6 x 19.7 ins., 65 x 50 cm, Musée Cantonal des Beaux-Arts, Lausanne, inv 2011-075, deposited at the Collection de l’Art Brut, Lausanne. C.R. 594, Atelier de numérisation de la Ville de Lausanne, photo Olivier Laffely. left Bâton magique de la pêche miraculeuse, 1951-1960 (4th period), coloured pencils, black pencil and postcard sewn on six sheets of paper stitched together, 41.3 x 34.6 ins., 105 x 88 cm, Collection de l’Art Brut, Lausanne, cab. 3575, C.R. 267.01, photo Claude Bornand. overleaf Napoléon III à Cherbourg, 1952–1954 (4th period: 1951–1960), coloured pencils and juice of geranium petals on eight sheets of paper stitched together, 64.6 x 46.1 ins., 164 x 117 cm, Collection de l'Art Brut, Lausanne, cab-536, C.R. 246.01, photo Claude Bornand.
All images © Fondation Aloïse.
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GARDEN OF EDEN RESTORATION John Foster visits Samuel Perry Dinsmoor’s Kansas environment Before and after pictures courtesy of Erika Nelson. All other photos courtesy The Kohler Foundation.
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n the fragile world of preserving and sustaining art environments, one foundation stands alone as a guardian angel. If you ever find yourself driving across the state of Kansas, it is best to come to terms with the monotony of flat land as mile marker after mile marker delivers a similar landscape. Interstate 70 is the east–west artery, and just west of dead centre is the exit for the town of Russell. From Russell, you need to drive northeast for about 15 minutes longer to reach the tiny hamlet of Lucas (population 425), a place that most people would have no business visiting without a reason. Indeed, there is a very good reason to visit Lucas, for just off Main Street is one of the most spectacular art environments in the United States. Called The Garden of Eden, the home and surrounding concrete garden was built by an eccentric individual
named Samuel Perry Dinsmoor (1843–1932). Dinsmoor was a Civil War veteran, a member of the Order of Masons, a schoolteacher and a farmer. By the mid 1880s, Dinsmore was enthralled with the Populist movement, an organisation of liberal, free-thinking people who advocated various social and religious reforms; but by 1907 Populism was fading away and, at age 62, Dinsmore poured himself into the construction of his home on a half-acre of land. Dinsmoor called his creation The Cabin Home, and he built it using narrow ‘logs’ of native post rock limestone, a material quarried for use in local courthouses, larger buildings and even for the posts of fences. Wood was scarce on the plains of Kansas, and Dinsmore took great care to shape the limestone to look like wooden logs. The actual house was unusual, to say the
least, as no two doors or windows were made the almost three years ago, John Hachmeister, an art same. But the real magic of the acreage was the professor at University of Kansas and one of the surreal and fantasy-like yard environment consisting current owners of the Dinsmoor property, began of about 150 handmade concrete figures and 30 discussions with the Kohler Foundation of Kohler, concrete trees, most of them above the roofline of the Wisconsin, for assistance. While volunteers have house. With wry humour and loaded with symbolic always lent a hand at the Garden over the years, the narratives, the environment is based around three key need for a major restoration was long past due. themes in Dinsmore’s life: the Bible, Freemasonry, and Preservation expertise and funding to do the work was Populist politics. the primary need. Themes such Terri Yoho, ‘ON THE PLAINS OF KANSAS, WHERE as The Crucifixion of executive director of the Labor portray the WOOD WAS SCARCE, DINSMOOR SHAPED Kohler Foundation, martyred working man, worked with Hachmeister LIMESTONE TO LOOK LIKE LOGS’ surrounded by four and developed a plan to persecutors – namely a purchase the property doctor, a lawyer, a preacher and a banker. Another and then preserve the Garden of Eden. The Foundation theme is the Goddess of Liberty Tree, a figure draped brought in art conservators and other professionals to in the American flag, holding a light in one hand and begin the massive task of cleaning, repairing and a spear in the other. Near the front of the house are conserving the art. the monumental figures of Adam and Eve, with two In all cases, when the Kohler Foundation snakes twisting to form the grape arbor entrance. takes on the preservation of a site, the intention is for Nearby, Satan is represented by a devil-like figure, and it to be gifted to a non-profit organisation to steward the site and make it available to the public. That opposite him, the all-seeing eye of God. (1) Sixty years later, Lucas residents Wayne and nonprofit entity is the Friends of S. P. Dinsmoor’s Luella Naegele stepped in and purchased the site in Garden of Eden, comprising Lucas community members 1966. They stabilised and repaired what they could, and Kansas individuals active in the arts. Yoho calls and then opened the site to the public for the next 20 The Garden of Eden ‘one of the top vernacular art sites years. After that, a new set of caretakers acquired the in the country and a national treasure. It has been site, continued to keep it open and provided as much placed into excellent hands.’ care and repair as they could. Work on the site began in June 2011 and As the years passed, the integrity of the continued for nearly six months, wrapping up in concrete was reaching a crisis point, with flaking and December. Erika Nelson, an advocate for art pieces of concrete beginning to fall. That is when, environments, lives across the street from the Garden.
above The fully restored Garden of Eden. opposite In the process of restoration: Adam and Eve sculptures welcome visitors.
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LOW TECH AND LOUD
Mike Noland talks to fellow Chicago artist CJ Pyle about his art, its origins and their influences
above Twin Falls, 2010, ballpoint pen and coloured pencil on inside of LP record jacket, 11 x 16.5 ins., 27.9 x 41.9 cm. opposite Ginger, 2011, pencil, coloured pencil and ink on verso of children’s book cover, 17 x 11 ins., 43.2 x 27.9 cm.
All photos courtesy of Ricco/Maresca Gallery, NY and Carl Hammer Gallery, Chicago, IL.
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W
e recorded this interview in my studio, on my computer in November 2011. I asked Chris Pyle to bring a back-up recorder, just in case mine messed up. I was shocked to see that the recorder he brought was a new tape deck (c. 1969) that he had bought at K-Mart. I did not know you could still buy cassette tapes, much less a recorder. During the interview his recorder made a whining sound that reminded me of a dying animal. At some point I realised it was the perfect thing for the interview. Low tech and loud, just like the two of us. There were many beers and laughs shared thoughout the night. We also listened to some Hank Williams and Greg Allman after we were done with the interview. Not only did we have a good time working on the interview, we also may have found a cure for all the worlds problems. Or is that just the beer talking? Thanks to Chris for a crazy night and being such a good friend.
Michael Nolan: How did you get started as an artist? CJ Pyle: I didn’t know much about art when I was very young growing up in Richmond, Indiana, but I was fortunate that my mother was a creative person who was supportive of my early drawings while I was in grade school.
What kind of drawings were you doing at that time? Well, I started by copying images from my school text books. One of my first drawings was of some Egyptian hieroglyphics. My mother saw it and was really impressed. I was surprised because I thought everyone could draw as well as I could. She recognised my talent very early on and was very supportive. We both come from working class families. What kind of art influenced you as a child? For me it was Ed ‘Big Daddy’ Roth. In grade school I fell in love with this magazine called Car/toons. Later I discovered Ed Roth’s Rat Fink T-shirts in the back of comic books. I begged my parents to buy me one, but I think it was a bit over the top for them. Another person who we have talked about being important to us both is Basil Wolverton. What was it about his work that appealed to you? I first saw his work in Mad magazine. And after seeing it there I started collecting his ‘Ugly Stickers’. I would save up my money and buy ten packs of them at a time, sometimes just to try and find a character that I didn’t have yet. There was something about his work being funny, and ugly and beautiful at the same time.
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Angel Eyes, 2008, ballpoint pen and coloured pencil on inside of LP record jacket, 11.5 x 13 ins., 29.2 x 33 cm.
I also liked how he titled his portraits with names like Nancy and Betty. His work made a big impression on me.
Out of all the artists I have heard your work compared with, Wolverton is the one that makes the most sense to me. I think so, too. There was something about the way he drew his portraits that connected with me. The obsessive nature of them maybe. It shows up in your drawings as a similar approach to texture and form. Also as ‘beautiful monsters’. One of
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the greatest stories I have heard is your personal encounter with Ed (‘Big Daddy’) Roth. Would you mind telling it again? One day my wife told me that she had just heard that Ed Roth was in Indianapolis doing a car show. She didn’t really know who he was except that I was a big fan of his work. She said I really think you should go down and meet him. I told her that I was taking the credit card and going to load up on his stuff. I would have loved to have met him. I am big fan of his work, too. Well, the story gets weirder. I got down to his booth
and talked to his assistant and I said I’ll take one of everything. He said great, but when I handed him my credit card he pointed to a sign that said ‘cash only’.
That is incredibly sad and funny at the same time. What happened next? I thought that once I explained to Ed Roth what a big fan of his I was that everything would work out. Not only did he not let me charge anything on my credit card but he could not have looked any less interested in my story, or that I was a huge fan of his work. He just sort of stared right through me. I think he might have been in bad health at the time because I believe
that he died shortly after that, so I’m guessing that may have had something to do with his mood.
Did you get anything that day? One lousy T-shirt.
Little Jane, 2011, pencil and ink on verso of book cover, 12 x 19 ins, 30.5 x 48.3 cm. Photo courtesy Ricco/ Maresca Gallery, NY, and Carl Hammer Gallery, Chicago, IL.
Wow. That is a priceless story. I know you are a professional rock and roll drummer. How did you get started in music? Well, I was a poor student in school in general. The typical daydreamer sort of case. My mother had me take piano lessons and I played the drums in the school band. During puberty something just clicked in
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WAITING FOR GOD’S ENVOY Barbara Herbin looks at the obsessive detail of John Danczyszak
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T
here are times in life when we go somewhere or do something with a clear intention in mind, only to discover later on that we went there for an entirely different purpose altogether; one that we could never have foreseen. In September 2003 I travelled up to Edinburgh for a meeting of the Artesian Directors, most of whom I was meeting for the first time. (Artesian is a community of self-taught artists founded by Judith McNicol). Our meeting was important and very necessary; nevertheless, as I stood at the airport waiting to catch my plane home, I knew that the real reason for my visit had been to meet John Danczyszak,
to hear the story behind his eleven paintings of the cross, and eventually to write about it. John Danczyszak is of mixed Ukrainian and Scottish ancestry, and was born in 1954 in Gorebridge, Midlothian. He attended Aberdeen Art College in the mid 1970s but was asked to leave, having been judged a disruptive influence and his work deemed too unconventional. Continuing to paint in isolation, he developed his own style and exhibited his work in galleries in London, Maastricht, Edinburgh, Roermond and Amsterdam. In August 1991 Danczyszak began a painting that took him a whole year to complete. On finishing opposite 1994, 4.5 x 6.4 ins, 11.3 x 16.3 cm. left 1998, 4.5 x 6.4 ins, 11.3 x 16.3 cm. All works are watercolour and pencil on paper.
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SUE KREITZMAN - WOW! London’s self-styled WOW - Wild Old Woman - explains her mission
S
ue Kreitzman is a well known and successful cookery writer who came to art late in life and found to her endless delight that it overpowered her and completely dominated her existence. Her home in Bow in London’s East End stands as testament to that. Crammed with Kreitzman’s colourful assemblages, paintings and collections, the space becomes a flowing mass of colour and form, with the divisions between walls, ceilings, stairs and floors often difficult to grasp. Originally from New York, Kreitzman has organised several important exhibitions of self-taught artists in London over the last few years, including the celebrated WOW – Wild Old Women and Flashier and Trashier which featured assemblage artists using found materials and kitsch objects as well as highly original paintings and
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drawings by a variety of mainly British-based visionary artists. Her latest show, ‘Dare to Wear’ will feature bizarre costumes and wearable artworks and will take place at her favourite exhibition venue, the cavernous crypt of St Pancras chuch near Euston in central London. Kreitzman hates pomposity about art, especially art which operates outside of the mainstream. The artists in her exhibitions are an iconoclastic, unconventional, free thinking group, and Kreitzman wants ‘visitors to leave our exhibitions exhilarated, overexcited, laughing out loud, and desperate to begin gathering detritus themselves in order to make their own art. I would hope that each and every one of them realise that anyone can make art out of anything!’ Kreitzman has collected together a whole stable of British-based self-taught artists who show alongside her at the regular exhibitions. For many it is the main exposure they will get during the year and the exhibitions are gradually establishing themselves as important elements in London’s specialist outsider
art world. The forthcoming Dare to Wear show will feature 27 self-taught artists who will be exploring profound wardrobe conundrums such as ‘Will flamboyance set you free?’, ‘How many kilos of weird jewelery are correct to wear on any given day?’ and ‘Will wearing beige really kill you?’ Outrageous fashions on display at the crypt will include those by Kate Bradbury, one of the stars of earlier Kreitzman shows, as well as talismans and wearable sculpture by Australian Liz Parkinson. The show will be more craft-based than previous exhibitions with wearable creations by Alicia Piller, Amanda Caines and Anothai Hansen; colourful assemblages and paintings by Phil Wildman, Malcah Zeldis, Debbie Cicalese and Ella Guru; delicate embroidery by Lauren Shanley; fabric assemblages by Rosemary McLeish and large paintings by Yvonne Mabs Francis. All these will be exhibited alongside Kreitzman’s own work on a theme close to her heart as her own clothes, worn on a daily basis, are brightly coloured expressions of her art.
opposite page top Sue Kreitzman in her workshop. all other images Sue Kreitzman, interior views and artworks.
photos: Maggie Jones Maizels and Mike Fisher.
Dare to Wear St Pancras Crypt, St Pancras Church, Euston Road, London, NW1. October 9 – November 4 (closed Mondays).
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CONTEMPORARY ART BRUT Barbara Safarova invites us to the meeting place between art brut and contemporary art
above Chiharu Shiota, Memory of Books, 2011, a site-specific installation at the 54th Venice Biennale, curated by James Putnam in collaboration with the Gervasuti Foundation.
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T
o capture the unique obscurities of one’s time, it seems that one needs to be out of step with the times; at least, that is the thesis of Italian philosopher Giorgio Agamben, developed in his essay ‘What is the Contemporary?’ Offering a particular reading of the word ‘contemporary’, it is worth reflecting on – especially if we are to search for the particularities that are characteristic of a work of art brut in the broader field of contemporary art. July 1945: this date marks the famous trip of Jean Dubuffet to several psychiatric hospitals in Switzerland; it has gone down in history as the beginning of his collection of art brut. From the beginning of his adventure, Dubuffet was aware of the difficulty of defining his new concept, but he defended himself by writing that while ‘something’ is ‘indefinable, indescribable, elusive, it does not mean that it does not exist.’ (1) One could even argue that this vagueness – the blurring of pixels – is a sign that the concept is still very much alive, constantly changing to the point that it is hard to follow or fix its limits, like a meteor that flashes across the night sky,
whether those who regularly announce its death or illegitimacy like it or not. The year 1945 also signified the beginning of what is called ‘contemporary art’, which, according to Wikipedia, is defined as ‘all works produced since 1945 to the present, whatever their style or aesthetic practice’. For some it is more specifically ‘aesthetic practice and achievements of artists claiming “a breakthrough in the progress of the avant-garde”’. In recent decades, art brut has been perceived as a kind of parallel ‘avant-garde’, marginal and excluded from the contemporary art channels. Admittedly, Dubuffet and some of his successors have done everything for it to remain so, often resulting in a reactionary ‘anti-contemporary art’ ideology, as if contemporary art were one school of thought or homogeneous style. However, it seems that the views are changing: first, as exhibitions of art brut attract a growing number of visitors, its detractors are forced to question their beliefs; also, more and more young artists find inspiration in art brut. Henry Darger’s work holds the first place; among those seemingly inspired
having broken out from its confinement – it is for its creator first of all a practice, an instrument for new (and highly private) organisation of the world, for the creation of a new logic that would make the world intelligible. Harald Szeeman speaks of ‘individual mythologies’: ‘the attempt of an individual to confront the great confusion of the world with his own order’, (4) a necessary response to a mysterious injunction in the grip of which he can find himself. In his speech ‘Anticultural Positions’ at the Arts Club of Chicago in 1951, Jean Dubuffet did not refer explicitly to his ‘definitions’ of art brut, but pointed out several qualities that to him characterise true creation:
left A.C.M., Untitled, n.d., assemblage from electronic pieces, 15.6 x 11.2 x 7.6 ins., 39.7 x 28.6 x 19.3 cm, abcd collection, Paris.
‘a very strong sense of continuity of all things, especially between man and the rest of the world’, ‘madness and aberrations’, the capacity of catching ‘the mental process at a deeper point of its roots’ before it becomes an ‘elaborated idea’, regarding objects with its surrounding as a whole rather then cutting the object out of it, privileging speech as an instrument of expression over written language and most importantly, rejecting the classic idea of Beauty and considering art as ‘an instrument of knowledge’.
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Some issues only available as pdf downloads: #4 #6 #9 #12 #13 #23 #24 #26 #54 #55 Please see page 64 for more details
BACK ISSUES FOR SALE RAW VISION 123 Facsimile reprint of the historic first three issues.
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Art Brut Dubuffet, Art Cars, Definitions, Lonnie Holley, Abbé Fouré, Ray Morris.
Billy Lemming, Huichol, Australian Outsiders, Art of the Homeless.
von Bruenchenhein, Imagists, Monsiel, McKesson, Mabussa, Vahan Poladian.
Joe Coleman, Minnie Evans, Seillé, Peploe, Papa, Canadian Environments.
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La Cathedral, Hauser, Norbert Kox, Zemankova, Anita Roddick, Laffoley.
Gugging, Art & Psychiatry, Traylor, M-J Gil, De Stadshof, Margaret’s Grocery.
Salvation Mountain, Yoakum, Dos Santos, Scottish Outsiders, Bartlett.
Ossorio, Irish Naïves, Nick Blinko, Ray Materson, Le Carré Galimard.
Adolf Wölfli, Art Cars Zeldis, Albert Louden, Cellblock Visions.
Sudduth Burgess Dulaney, St EOM, Mouly, Dulaney, Mr Eccles, SPACES.
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Y5/P5, Chomo, Arning, Leonov, Kaiser, The Tarot Garden, Gene Merritt.
Mary Proctor, Carlo Zinelli, Dernier Cri, Art Brut, Jersey Shell Garden.
Picassiette, Benefiel, Vodou, Dellscahu, Mediumistic, Van Genk.
Mary T Smith, de Villiers, Matt Lamb, Old Curiosity Shop, Mithila Painters.
Robert Tatin, N-M Rowe, McQuirk, Denise Allen, Freddie Brice.
William Thomas Thompson, Alfred Wallis, Johnny Meah, Michael Rapanakis.
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Ben Wilson, Inner Architecture, Fasanella, Phase 2, Fryar, Gordon’s Patio.
Roger Cardinal Bentivegna, La Tiniaia,Grgich, Collis, Ray Morris.
Alex Grey, Lacemaker, Luna Rossa, Sekulic, Uddin, Mary Nohl.
Art & Madness, Lee Godie, Palace Depression, Saban, Benavides.
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Dr. Leo Navratil, Ilija Bosilj, Simon Sparrow, Melvin Way, Pradeep Kumar.
Nek Chand, Finster, Valton Tyler, LaraGomez, P.Humphrey, War Rugs, Lonné.
Van Genk, Purvis Young, Marcel Storr, RA Miller, Madge Gill, Makiki
Watts Towers, Bessy Harvey, Marginalia, F. Monchâtre, Tree Circus.
Palais Idéal, J. Scott, Charles Russell Donald Pass, Outsider portraits.
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Theo, Jane-in- Jane Sobel, Lanning Garden
56 Maura Holden, Clarence Schmidt R.A. Miller, Hans Krüsi, Silvio Barile
66 Philly/K8, Sefolosha, Palmer, Belardinelli, Ludwiczac, Oscar’s sketchbook.
William Hawkins, Expressionism and Insanity, Giovanni Battista Podesta
57 Burning Man, Matsumoto, Nicholas Herrera, William Fields
67 Renaldo Kuhler, Sonabai, Outsider Films, Giov Bosco, Finster/Ginsberg
Finnish Outsiders, Sylvain Fusco, Roy Ferdinand
58 Lobonov, Zindato, JB Murray, Anthony Jadunath, Seymour Rosen.
68 Paul Amar, Phyllis Kind, D M Diaz, W Dawson, Joe Minter, Survivors, Martindale
Scottie Wilson, Gavin Bennett, Bispo Do Rosario, Art Behind Bars
59 Emery Blagdon, ZB Armstrong, Bali, Imppu (Finland), Mari Newman.
69 Colin McKenzie, Eugene Andolsek, Surrealism/Madness, INSITA, Churchill D
Hung Tung, Photography, Bernard Schatz, Jessie Montes
60 Tom Duncan, Movie Posters, Spanish Sites, Rosa Zharkikh.
Darger, R/stone Cowboy, Thévoz: Chiaroscuro, Pearl Blauvelt, Bressse
49 Mammi Wata, Fred Ressler, Mary Whitfield, Isaiah Zagar
61 Sam Doyle, Myrtice West, Lost In Time, Romanenkov
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Electric Pencil, Gugging, JJ Cromer River Plate Voodoo
Mario Mesa, Tim Lewis, Joel Lorand, Chelo Amezcua, Clayton Bailey
20 Rio Museum, Voodoo,Carvers of Poland, Naïves of Taiwan, E. James.
Eli Jah, Singleton, Marie-Rose Lortet, Ross Brodar, Catalan site.
50 Hamtramck Disney, Roger Cardinal, Ken Grimes, Criminal Tattoos
62 S.L. Jones, Kevin Duffy, Frank Jones, Charles Steffen
72 Masao Obata, Takeshi Shuji, Henriette Zéphir, John Toney, Edward Adamson
41 G. Aiken, Junkerhaus, Kurt Haas, P Lancaster, Minnie Evans.
51 August Natterer, New Gugging, George Widener, Paul Hefti
63 Howard Finster, Michel Nedjar, James H Jennings, Rosemarie Koczy
73 Dalton Ghetti, Art & Disability, Danielle Jacqui, Andrei Palmer, Mingering Mike
Boix-Vives, Fred Smith, Rosa Zharkikh, Donald Mitchell
52 Ivan Rabuzin, Czech Art Brut, Sunnyslope, Prophet Blackmon
64 Joe Coleman, Harald Stoffers, Elis F. Stenman
74 Henry Darger, Peter Kapeller, Nadia Thornton Dial, Belykh
Thornton Dial, Richard Greaves, Martha Grunenwaldt
53 Toraja Death Figures, Chauvin Sculptures Josef Wittlich, Nigerian Sculpture
65 Speller, Norbert Kox, Haiti street art BF Perkins Damian Michaels
75 August Walla, Adolf Wölfli, Antoni Gaudi, Tim Wehrle, Frank Walter, Art & Therapy