RAWVISION88 WINTER 2015/2016
EDITOR John Maizels DIRECTORS Henry Boxer, Robert Greenberg, Audrey Heckler, Rebecca Hoffberger, Phyllis Kind, Frank Maresca, Richard Rosenthal, Bob Roth ART EDITOR Maggie Jones Maizels SENIOR EDITOR Edward M. Gómez FEATURES EDITOR Nuala Ernest ASSOCIATE EDITOR Natasha Jaeger 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, Jo Farb Hernandez, Tom Patterson, Colin Rhodes, Charles Russell ADVERTISING MANAGER Kate Shanley ArtMediaCo, Sales & Marketing 799 Broadway #224 New York, NY 10003 917 804 4642 ArtMediaCompany@gmail.com
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 USA 119 West 72nd Street, #414, New York, NY 10023 (Standard envelopes only)
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RAW NEWS Outsider events and exhibitions around the world.
OBITUARIES Paul Laffoley and Ionel Talpazan
DAN MILLER A recent discovery from the Creative Growth Art Center.
AMES GALLERY Interview with Bonnie Grossman on her retirement.
JJ BEEGAN A chance discovery of work by an inmate in 1950s Britain.
20 YEARS OF AVAM Rebecca Hoffberger looks at the achievements of AVAM.
WALL OF HEROES A Jamaican response to community violence.
BENGAL SCROLLS Narratives of itinerant story tellers.
JOHN BRILL Unusual perspective on outsider photography.
GERARD LATTIER Self-taught French narrative artist, with a bite.
RAW STUDIOS Project Ability from Glasgow.
RAW REVIEWS Exhibitions and events.
GALLERY & MUSEUM GUIDE A round-up of notable venues around the world.
ISSN 0955-1182 COVER IMAGE: Dan Miller, Unitled, 2015, ink on paper, courtesy of Creative Growth Art Center, Oakland, California. Raw Vision (ISSN 0955-1182) December 2015 is published quarterly (March, June, September, December) by Raw Vision Ltd, PO Box 44, Watford WD25 8LN, UK, and distributed in the USA by Mail Right Inc., 1637 Stelton Road 84, Piscataway, NJ 08854. Periodical Postage Paid at Piscataway, NJ, and additional mailing offices. Postmaster: send address corrections to Raw Vision c/o Mail Right International Inc., 1637 Stelton Road 84, Piscataway, NJ 08854. USA subscription office: 119 72nd Street, #414, New York, NY 10023. (Standard envelopes only). Raw Vision cannot be held responsible for the return of unsolicited material. The views and opinions expressed here are those of the authors and do not necessarily reflect the views and opinions of Raw Vision.
AMERICAN FOLK ART MUSEUM VISIONARY AWARD
WORLD’S BEST ART MAGAZINE
UTNE INDEPENDENT PRESS AWARD
MEDAILLE DE LA VILLE DE PARIS
R AW N E W S MADMUSÉE
PALLANT HOUSE GALLERY
Feb 6 – Mar 12 Tell 'em I'm dead is a group exhibition that will explore post-apocalyptic themes by various emerging and established Arts Project artists. The exhibition will evoke a decaying landscape filled with ferocious monsters, deadly viruses, zombies and skeletons. Running parallel, Bronwyn Hack’s solo exhibition Be Careful Now launches a recent collection of paintings and 3D artworks that focus on anatomy and the body.
Jan 28 – Mar 5 MADmusée has invited the choreographer Alain Platel to interpret the collection of MADmusée in Pays de danses.
Mar 12 – Jun 12 Radical Craft: Alternative Ways of Making will take place at Pallant House Gallery before touring around the UK. Outside In’s fourth triennial open art exhibition is a collaboration with Craftspace and will showcase craft focused work by historically renowned and invited contemporary artists associated with Outsider Art, alongside UK artists who see themselves as facing barriers to the art world for reasons including health, disability, social circumstance or isolation.
Joanne B. Kaar
Bronwyn Hack
Chris Van der Burght
ARTS PROJECT AUSTRALIA
ARTS PROJECT AUSTRALIA 24 High Street, Northcote, VIC 3070, AUSTRALIA www.artsprojectaustralia.org.au
THÉÂTRE DE LIÈGE Place du 20-Août 16, 4000 Liège, BELGIUM www.madmusee.be
SHAUL KNAZ AT GALERIE GUGGING
MUSEUM DR. GUISLAIN
until Feb 18 Galerie Gugging is featuring the works of Israeli selftaught artist Shaul Knaz in shaul knaz – layout for a dream. Knaz’s works are created with oil, acrylic, glue and his own mixed elements on media such as PVC, plywood, paper or canvas. He observes situations in his country, on the kibbutz, and expresses the desire for freedom, love and peace.
until May 29 Shame features works by Josef Hofer, Miroslav Tichý, Kaziemierz Cycon, Mohammed Targa and others.
PALLANT HOUSE GALLERY 9 N Pallant, Chichester PO19 1TJ www.outsidein.org.uk, www.pallant.org.uk
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REDWING GALLERY until Sep 2016 A changing exhibition of paintings by Chris Neate, John Sheehy, Piers Lockwood and others is on display until September. The not-forprofit social enterprise's empty-shop project has recently expanded to include two floors of gallery space.
Chris Neate
Josef Hofer
Shaul Knaz
GALERIE GUGGING Am Campus 2, 3400 Maria Gugging AUSTRIA www.gugging.org 4
AUSTRALIA, AUSTRIA, BELGIUM, BRITAIN
MUSEUM DR. GUISLAIN Jozef Guislainstraat 43, 9000 Gent, BELGIUM www.museumdrguislain.be
REDWING GALLERY 36A Market Jew Street Penzance, Cornwall TR18 2HT, UK redwinggallery.co.uk
R AW N E W S
SWITZERLAND, USA
MUSÉE VISIONNAIRE
FOUNTAIN HOUSE GALLERY
until Feb 28 Einfach Tierisch! has been extended to February 28. Featured artists include Paul Amar, Ilija Bosilj, Gregory Blackstock, Ivan Rabuzin and André Robillard.
Wayne Coyne
Gregory Blackstock
Myasia Dowdell
until Sep 4 AVAM celebrate their 20th anniversary with The Big Hope Show, with more than 25 visionary artists exploring the transformative power of hope. Artists include Bobby Adams, Margaret Munz-Losch, Chris Roberts-Antieau, Nancy Josephson and The Flaming Lips’ frontman Wayne Coyne.
MUSEUM IM LAGERHAUS
MEMPHIS BROOKS MUSEUM OF ART
LEONARD JONES
until Feb 28 Ego Documents continues at Museum im Lagerhaus, exploring artworks as a construction of the ego and self-manifestation. Artists include Pietro Angelozzi, Anton Bernhardsgrutter, Rudolf Heinrichshofen and Antonio Ligabue.
until Feb 28 Wonder, Whimsy, Wild: Folk Art in America highlights American folk art from New England and the Midwest, created between 1800 and 1925. Among the paintings are portraits, still lifes, landscapes and allegorical works, while the objects include sculptures, commercial signs, furniture and household objects. All of the works were made by minimally-trained or self-taught artists in rural areas.
Jan 15 – Mar 17 Mike’s Art Truck and the Alliance for Historic Hillsborough will present Simple Ways: Folk Art by Leonard Jones at Alexander Dickson House.
Leonard Jones
AMERICAN VISIONARY ART MUSEUM 800 Key Highway, Baltimore, MD, 21230 avam.org
Edward Hicks
Rudolf Heinrichshofen
MUSÉE VISIONNAIRE Predigerplatz 10, 8001 Zürich, SWITZERLAND museevisionnaire.ch
FOUNTAIN HOUSE GALLERY 702 Ninth Avenue New York, NY 10019 fountaingallerynyc.com
MUSEUM IM LAGERHAUS Davidstrasse 44, 9000 St. Gallen, SWITZERLAND www.museumimlagerhaus.ch 8
Jan 14 – Mar 9 One Step Beyond: Art Off the Charts will explore the pervasive influence of music in the visual arts, with works by the artists of Fountain House Gallery, Land Gallery, and by selected artists from around the U.S.
AVAM CELEBRATES 20 YEARS
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MEMPHIS BROOKS MUSEUM OF ART 1934 Poplar Avenue, Memphis, TN 38104 www.brooksmuseum.org
ALEXANDER DICKSON HOUSE, 150 E King St, Hillsborough, NC 27278 mikesarttruck.com
R AW N E W S
USA
GREY CARTER-OBJECTS OF ART
Jan 21–24 Paintings by Mary Whitfield will be shown at Phyllis Stigliano Gallery at the same time as the Outsider Art Fair.
Jan 9 – Feb 21 Black & White, Read All Over is a group show of drawings by JJ Cromer, Loïc Lucas, Malcolm McKesson and Joaquín Pomés Figueredo.
Mary Whitfield
Joaquín Pomés Figueredo
MARY WHITFIELD
Jan 21–24 Some 59 exhibitors will be coming to New York for the 24th edition of the Outsider Art Fair in January. Taking place at the Metropolitan Pavilion on 18th Street, the fair will host dealers of self-taught artists from 13 countries. The twelve first-time exhibitors include Dutton (New York), James Fuentes (New York), Galerie Polad-Hardouin (Paris), Morgan Lehman Gallery (New York), Les Arts Buisonniers (Saint-Server-du-Moustier, France) and Olof Art (Oegstgeest, Netherlands).
Von Bruenchehien at Carl Hammer Gallery
OUTSIDER ART FAIR
GREY CARTER-OBJECTS OF ART 1126 Duchess Drive McLean, VA 22102 www.greyart.com
GIL PERRY AT GALLERY IN THE WOODS
AFAM
GEORGIA MUSEUM OF ART
until Apr 1 Gil Perry’s intricate, visionary works are self-described as “dreaming with open eyes”. This collection includes sepia ink wash, graphite drawings and an alkalyd painting.
Jan 20 – May 8 Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collection documents the aesthetic heritage of cultural artifacts related to fraternal orders in the U.S., with over 200 works created by self-taught artists, artisans and manufactories.
until Feb 28 Georgia’s Girlhood Embroidery: “Crowned with Glory and Immortality” is the first comprehensive exhibition to focus on Georgia embroidered samplers, created by girls aged eight to twelve during the 18th and 19th centuries in Georgia.
GALLERY IN THE WOODS 145 Main Street Battleboro, VT 05301 galleryinthewoods.com 10
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AMERICAN FOLK ART MUSEUM 2 Lincoln Square New York, NY 10023 www.folkartmuseum.org
Frances Roe
Gil Perry
Anon
METROPOLITAN PAVILION 125 West 18th Street, New York, NY 10011 outsiderartfair.com
PHYLLIS STIGLIANO GALLERY 62 Eighth Avenue Brooklyn, NY 11217 phyllisstigliano.com
GEORGIA MUSEUM OF ART 90 Carlton Street, Athens, Georgia 30602 georgiamuseum.org
WHEN WORDS WRITE PICTURES
Untitled 2015 ink and acrylic paint on paper 56 x 42 ins. / 142.2 x 106.7 cm
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The exploration of text and gesture in the work of an artist from the Creative Growth Art Center in Oakland, California
By TOM DI MARIA
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hat is so compelling about an artist using text? Perhaps it reminds us of the communicative power of art, its capacity to transcend the culture or circumstances of the maker and to forge a direct and vital link with a viewer. The simple marks and the forms of the words and letters become compelling graphic elements, familiar signifiers that offer us a code into the meaning of what we are seeing. When the formal qualities of such a work are also aesthetically gripping, comprised of text components that tantalise us with beautiful and urgent lines, the impact of the work can be even more startling. Such is the experience of a Dan Miller work. Born in Castro Valley, California in 1961, Miller has been working at Creative Growth Art Center in Oakland, California, since 1982. Creative Growth is one of the world’s first art centres for people with developmental disabilities. Founded in 1974, the centre serves 160 adult artists every week and has a mission to foster the aesthetic development of people with disabilities in the visual arts.
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A FAREWELL TO AMES After 45 years, the venerable Ames Gallery in Berkeley, California, is closing its doors and Director Bonnie Grossman is retiring. Here, she reminisces with Rose Kelly
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ecollections: Art from the Ames Gallery, an overview of the work exhibited during its long run, is on display in the Craftsman-era home Bonnie shared with her husband, Sy Grossman, since 1969. Sadly, Sy passed away after a fall shortly after this interview. I sat down with Bonnie in one of the spaces throughout the house where she exhibits artwork and what she describes as a gallimaufry of items, including bottle whimsies, carved walking sticks, quilts, tramp art and antique kitchen utensils. She is credited with introducing the work of previously unknown visionary and outsider artists, including A. G. Rizzoli, Dwight Mackintosh, Alex Maldonado and Barry Simons. Rose Kelly How did you begin running a gallery and how did you choose the name? Bonnie Grossman I was helping a friend who owned a craft store, the Artifactrie, with a gallery in the back. Soon, I was running the gallery and I wanted something short,
easy to remember and at the beginning of the alphabet. In 1972, I moved the gallery here to our home. It was to be a temporary solution while I went in search of a better place. I never found one. At the beginning, I bounced back and forth between showing either academic art or folk art and the works of self-taught visionary and memory painters. Our son, Michael, told me that I needed to focus on one or the other. RK How did you become involved with the local PBS television station, KQED and its annual auction fundraiser? BG I thought that participation as an “art solicitor” or offering our gallery as a collection site might bring us some attention. Before long, I became director of the art portion of the auction. I invited art critics and writers like Cecil McCann and Charles Shere to review donated artwork and to select artists for art-themed TV shows. This was an incentive for people to donate quality art. I coproduced five television shows, including ones that featured Wayne Thiebaud and Joan Brown. Self-taught artist Alex Maldonado donated his artwork to the cause. His sister, Carmen, called to say, “My brother should win the prize because he is an old man and he just started painting.” As it happened, the critics did select him for a TV show and I began to exhibit his work. RK How did you discover the art of A. G. Rizzoli and what impact did it have on you and the gallery? BG In 1990, a woman came by the gallery with some art she wanted to sell. She told me, “these are some pieces I stole 13 years ago.” She had no idea who the artist was or where he lived. The three colour drawings she left with me were signed with fictitious names like Mazerlight and Angelheart. The 39 large vellums, 24 x 36 inches, were all signed A. G. Rizzoli. I began to read the text in the vellums. There was mention of a family named Jose with reference to a child that died at five. I found a Jose in the phone book and cold-called the number. The family did have a child who had died and when they checked the funeral guest book, they found that Mr Rizzoli had signed it. Eventually these “cold calls” and clues led me to Rizzoli’s great-nephew. The great-nephew who lived in the Bay Area remembered that his mother, Rizzoli’s niece, invited him for holidays. He said he had his uncle’s “stuff” in his garage. There was artwork glued to redwood panels. Shirley’s Temple hung over the washing machine in a glass-less
opposite: Bonnie Grossman at the Ames Gallery by her bottle collection clockwise from far left: A. G. Rizzoli, Shirley’s Temple, Barry Simmons, Creatures, and Dwight MacIntosh, Three Figures
frame. I told the nephew that I wanted to take the artwork and make a market for it. He told me that he could take it down to the schoolyard fence and sell it. I prevailed and contracted with him to handle Rizzoli’s estate. There are parallels between Maldonado and Rizzoli. Each was the youngest son of five. Their families migrated to the United States and settled in San Francisco. They lived in cottages on either side of the same hill. They lost their fathers as teens. They never married and lived with their mothers until they died. Their artwork created better worlds – Rizzoli through hallucination and Maldonado through imagination. RK How did you find artists to show in the gallery? BG When my husband Sy attended medical conventions we always planned a few days to explore and look for new artists. Our frequent buying trips to the South, East and Mid-West were always exciting. Meeting and spending time with many well-known artists, Howard Finster, William Dawson, James Harold Jennings, Georgia Blizzard, Mary T. Smith, Elijah Pierce and Raymond Coins among them, were great adventures. RK What were the first things in your collection? BG I started with old medicine bottles and packages. I was
intrigued by the funny cures they promised and thought they would be great displayed in Sy’s office (Sy retired after 30 years as a physician). They never made it to his office and instead fill a large cabinet in the kitchen. My interest in household utensils began with a handmade wooden lemon squeezer. Soon, I had three and a collection. RK Do you think that the Outsider Art scene has changed over the years and where do you think it is heading? BG I think that it is hard to come back to the original intent of the term “Outsider”. I tend to abandon titles. I find they are so abused that they become useless. I prefer to present work and talk about the art and artist without any labels. I believe that every artist is self-taught. The art market needs to seek a younger audience and find out what interests them. Everyone is a collector whether it is matchbook covers or balls of string. The collectors that I’ve known over 45 years have aged out of collecting. We have to find that “something” that wins over new audiences. RK What’s next? BG That’s a good question, and I don’t have an answer yet. I‘ve had a very colourful and rich life. I’ve been a kindergarten teacher, produced and co-produced television shows, and consulted and “starred” in others. I’ve curated a gallery, served on Museum advisory boards, organised fundraisers and I’m a wife, mother and grandmother. Now I am ready to sit back and enjoy what has been.
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ALMOST CERTAINLY, THE CATALOGUE RASIONNÉ OF THE CREATOR(S?) KNOWN AS JJ BEEGAN
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A chance re-discovery in the Adamson archives saw the entire life’s expression of one inmate realised in a handful of works
By DAVID O’FLYNN
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ittle is known about the asylum artist(s) known as JJ Beegan, whose drawings made using charred matches on institutional toilet paper, or using stubs of blue pencils on pages torn from The Works of Robert Louis Stevenson, Volume VI, have been recognised in several exhibitions and a book since the 1950s. These works came out of Netherne Hospital in Surrey, UK, where the father of art therapy, Edward Adamson (1911–1996), collected and promoted patients’ artworks. British long-stay mental hospitals were challenging places after World War II, having been starved of staff and resources. Physical treatment such as electric convulsive therapy, insulin coma therapy and brain operations – the infamous lobotomy – were widely used. Antipsychotic medication only became available in the early 1950s. However, a few asylums had started unlocking some of their doors in the late 1930s, known as the “open-door movement”, and progressive social, creative and occupational interventions were emerging. In the 1920s and 1930s, particularly in the USA, Henry Cotton’s “theory of sepsis”, that schizophrenia and other serious mental illnesses were caused by infection hidden in the body, led to people having at least their teeth removed, progressing to major surgery removing the appendix, spleen, large bowel, testicles or ovaries for some. Death rates from these operations were high, and though the practice fell into disrepute in the late 1930s, residents at Netherne when Adamson started leading art sessions in 1946 might have undergone these procedures earlier in their decades-long admissions. Many patients,
images, all courtesy of Adamson Collection / Wellcome Library Graffiti on Lavatory Paper 1 (detail), undated (c. 1946), match char on three sheets of Izal Medicated Toilet Tissue, 4.5 x 18 ins., 11.5 x 45 cm
their teeth removed, would have shared “ward teeth”: dentures kept in a jar of disinfectant until meal times. In his book, co-authored with his collaborator and partner John Timlin (b. 1930), Art as Healing (1984), Adamson describes his first visit, where, having passed through long corridors and many locked and re-locked doors, I was ushered into a large hall containing about 100 people... Many of the inhabitants underwent major brain operations, and consequently many were shaven headed. Others were swathed in bandages and were disfigured by post-operative bruises and black eyes.
Adamson was key in developing art therapy as a profession from the early 1940s. By the mid-1970s he was distanced, disagreeing with the profession’s interest in psychoanalysis. He believed that the act and gesture of creating art is therapeutic, and that only what is known about the creator and what the creator says about their work matters. In his 35 years at Netherne, Adamson collected around 100,000 artworks, about 5,500 of which remain as the Adamson Collection. The Adamson Collection left Netherne with Adamson in 1981 to be housed by the British scientist Miriam Rothschild in East Northamptonshire, until its move in 1997 to Lambeth Hospital, London. Given the need for conservation and preservation, and access by researchers, curators and the public, the Adamson Collection Trust (ACT) transferred 2,500 works by around 200 people to London’s Wellcome Library between 2013 and 2015, as well as the archives of Edward Adamson and ACT. ACT still holds about 500 sculptures in flint, ceramic, bone and cement. All of JJ Beegan’s known works are in the Adamson Collection and reproduced here: 13 drawings, and two more reproduced in Art as Healing of which the originals are lost. Also referenced here are the known sources, the book and three exhibition catalogues. So, now the mythology. In 1946, the same year Jean Dubuffet coined the phrase art brut, RAW VISION 88
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20 YEARS OF VISION As AVAM celebrates its 20th anniversary, Raw Vision’s editor John Maizels talks to the museum’s inspired founder and director, Rebecca Alban Hoffberger
John Maizels Founding the American Visionary Art Museum is an amazing achievement. What was your initial impetus and inspiration for the creation of AVAM and how did you feel it should differ from the Collection de l’Art Brut, which was the main museum of stature in the field of Outsider and self-taught art? Rebecca Hoffberger In 1984, I was working with a programme founded to give people with histories of mental illness the work and living skills to live independently. It made me realise just how terrible narrow labels for human beings were, how complex and wonderfully individual we all are, and what a challenging gauntlet life is in general. As a firm believer in intuition being the essence of all manner of creative genius, I had an idea for a museum based on
its fruits in broad spectrum manifestation – art, science, engineering, humour, social justice – invention in multiple realms – garnered from earth’s most remarkable “evolutionaries” – historic and living. More knowledgable folks than I then said, “That kind of art sounds a lot like Dubuffet’s Art Brut Museum.” So I wrote to the fabulous Genevieve Roulin and Michel Thévoz and got permission to make a short documentary on that gem of a museum with my friend, filmmaker Donna Matson. Visiting there, I was fast smitten with the honesty and fierce imagination of the art and adored the artist bios that were far more interesting than those in traditional museums. My co-founder, ex-husband and close friend, LeRoy Hoffberger, is an avid collector of German Expressionists, and he saw great value in my assertion that art brut was a profound source of inspiration for the Expressionists and many artists hungering for artistic authenticity. But from the start, I never wanted AVAM to be simply an Outsider Art museum. I feared primary emphasis on art as object – even rare fabulous works – would minimise the actual vision that lay behind what powered this intuitive art that had so much to say. I then saw repeated thematic patterns in the world's various collections of Outsider Art – the one most striking was the idealistic recreation of some personal, backyard Eden. Our inaugural 1995 exhibition was thus “The Tree of Life”, but in truth I had also picked the first eleven themes before our doors even opened. We have stuck to that formula of thematic shows that explore with our visitors the very big perplexing themes that have fascinated both the outsider artists and humanity's greatest visionaries throughout time. I did not want a museum that would be driven by the art market. I gambled on a format that would show works by oneoff and total unknowns right next to the top stars of visionary art under a unifying thematic banner spiced by equally visionary quotes, lyrics, scientific factoids, humour, related social justice issues, and fun. With Exterior view of the west facade of the American Visionary Art Museum, showing wall with mirror mosaic
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left: Exterior of the Jim Rouse Visionary Center, named after the late, inspirational social visionary. It emphasises AVAM’s commitment to the belief that, “Creative acts of social justice are life’s highest and best performance art.” In the foreground is Cosmic Galaxy Egg by Andrew Logan. Photo: Jack Hoffberger All other photos: Dan Myers below: Rebecca Hoffberger, Founder and Director of the American Visionary Art Museum, Baltimore
modest monies, we eventually created a 1.1-acre urban campus with world class architecture, 67,000sqare-feet under roof, two sculpture gardens, and resulting high rankings among the world’s top museums of any kind. Hard won, the success of the past 20 years has been a joyous miracle. JM What was the particular emphasis you wanted for the museum and how did you see its role in the community which has been very important aspect? RAH AVAM was designed to embrace “layers of good”. The glittering exterior mosaic walls are also America's largest mosaic-apprenticeship programme for youthat-risk and incarcerated teens; three of our staff first came to us directly from the homeless shelter; and our Founding Seven Education Goals are used by educators around the world and were appropriated verbatim to found the fabulous NYC Lower East Side Girls Club. Ultimately I believe, creative acts of social justice constitute the very highest form of artistry in that one has to be supremely creative to make lasting social change. AVAM has been called a very healing place, and again that speaks to creating a museoriented Muse-um and not simply a mausoleum for objects. I thought it too late in the world to simply birth a new embroidery on a cult of things and that visionary art itself deserved a museum as fresh thinking and fiercely dynamic as the best of the art. JM AVAM has received terrific support. You’ve been able to develop and expand the museum over the
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A HEROES’ WALL In a gang-ravaged Jamaican neighbourhood, an artist offers symbols of hope
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eliverance is a theme that is often sounded in poetry, reggae music and other forms of popular culture in Jamaica. A reflection of an abiding hope for positive change – political, economic, social – and for justice and prosperity for all, it is rooted in teachings that are associated with Rastafarianism. Indigenous to Jamaica, Rastafarianism is a religion whose adherents worship the late Ethiopian emperor Haile Selassie I (1892–1975) as a deity and smoke marijuana as a ritual practice. Its messages about redemption and deliverance,
mixed with positive-sounding declarations about peace, brotherhood and understanding, provided some of the inspiration for the self-taught Jamaican artist Mambee’s mural, seen here, which he began painting several years ago on an exterior wall of one of a group of simple, concrete-block houses in a poor section of Kingston. Located on the southern coast of the island, Kingston is Jamaica’s dusty, traffic-choked capital. Today, many of its older, downtown neighbourhoods are physically run-down and have become centres of hardship. In them,
Historical figures depicted in Mambee’s (below right) mural include the Haitian-independence hero Toussaint Louverture, various African kings, ancient Egyptian pharoahs and queens, the Jamaican political and black-nationalist leader Marcus Garvey and many others
unemployment is high, and residents often live in fear of violence from armed, rival gangs affiliated with the country’s two main political parties. Speaking in thick Jamaican patois, Mambee explains that, as his colourful project progressed, passers-by would ask him, “Wa mek yu dweet fa?” (“Why did you make it?”). He says that, in the face of the dispiriting poverty and violence that had long plagued his neighbourhood, he wanted to create something attractive that would enliven a nondescript wall and convey a positive, aspirational
message to the community. Embellished with decorative patterning, Mambee’s “Heroes’ Wall” depicts a wide range of historical African statesmen, as well as cultural figures and freedom activists from the world’s broader African diaspora. Across the street from the small plaza his mural faces, Mambee also painted a street-long wall. There, his peace message is more direct. In big, plain letters, it says, “Stop the war and killing. A part of you is a part of me.” Edward M. Gómez
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THE STORY SCROLLS OF BENGAL By SHAHEEN MERALI
Just as none of us is outside or beyond geography, none of us is completely free from the struggle over geography. That struggle is complex and interesting because it is not only about soldiers and cannons but also about ideas, about forms, about images and imaginings. (1)
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adhu and Hazra Chitrakar are artists based in the State of Bengal, East India. “Chitrakar” translates as “image maker”, and they are primarily self-taught – or, more precisely, taught within the lineage of family tradition, for their parents and grandparents would have also been Chitrakars and viewed as outsider artists. They are itinerant patua artists, whose pictoral stories are told with pigment on long scrolls. The stories traditionally revolve around common myths about gods, goddesses and epics that are re-told in different places, as they journey around the state. Either Hindu or Muslim, they occupy a marginalised status, forced to live on the outer fringes of their villages in rural Bengal. They are considered to be of the Hina by the upper-caste Hindus, which is a very lowly artists’ profession similar to the Muslim patnas. However, they are further reviled by orthodox Muslims for painting and singing in praise of Hindu gods, goddesses and mythology. Madhu, a Muslim with a Hindu name, is typical of this unusual social phenomenon. The Chitrakars work in the traditional mode of wandering minstrels, a medieval tradition in which a singer from an artisanal family sings of events or myths with the accompaniment of a long, narrative scroll for the masses or performs in isolated villages. The full-sized scrolls are always accompanied by smaller works that portray singular figures from mythology, providing the opportunity to sell to the domestic, pedestrian market. The best-known drawings and paintings of nineteenth-century Bengal are the Kalighat Pats, created by village-based clay modellers and painters who settled in the vicinity of the famous Kali Temple of Kalighat in Kolkata. Increasingly, the Chitrakars’ work has been collected by their audience as well as other buyers and collectors who are beguiled by the singular humour, artistry and vibrancy.
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The ancient craft of illustrated story-telling is going strong in Bengal with a new generation of travelling narrators Notes 1. Edward W. Said, Culture and Imperialism, New York: Knopf, 1993, p. 7. 2. Jacques Derrida, Memoires: for Paul de Man, trans. Lindsay, Culler, Cadava, & Kamuf, New York: Columbia University Press, 1989, p. 35. 3. Jean Dubuffet, “Art Brut preferred to the cultural arts”, essay for the catalogue L’art brut préféré aux arts culturels, Galerie René Drouin, Paris, 1949.
All works shown are by Madhu and Hazra Chitrakar, vegetable pigments on paper (with cloth backing)
below: 9/11 (detail)
A PIONEER IN OUTSIDER PHOTOGRAPHY
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John Brill, a creator of mysterious, dreamy images, represents an emerging field in the world of self-taught art-makers By EDWARD M. GÓMEZ
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ithin the broader world of Outsider Art, a specialised area of research and investigation has begun to emerge, one that examines photos made by self-taught photographers. It is still too early to tell if it might take off and spawn an active, new field among collectors, but recently some examples of the kinds of works on which it focuses have surfaced at art fairs and other venues. In the United States, the American John Brill is an emblematic creator of what is becoming known as “Outsider Photography”. Like makers of other forms of Outsider Art, Brill, who is 64 years old, is completely selftaught in the use of the equipment, materials and techniques he employs to produce his photographic works. Based in New Jersey, where he was born and grew up in a large, Italian-American family, Brill obtained his first camera, which was made of Bakelite plastic and used 620size roll film, when he was eight years old. He did not go to art school but instead attended Colgate College in central New York State, where he earned an undergraduate degree in physiological psychology. His training in that subject area, he explained in a recent interview, “was rooted in an empirical, scientific point of view.” He said, “As I’ve gotten older, I haven’t jettisoned that empirical approach but I have augmented it with introspection. Now, with age, everything does not appear
to be either/or. I’ve learned that a lot of what one sees in the world has to be viewed along a continuum.” That more expansive way of observing his environment and finding ambiguity in it may well be reflected in the mysterious, imprecise, curious photographic images Brill creates. Often ghostly or enveloped in light-saturated mists or shape-shifting clouds of light, the vaguely recognisable human faces or bodies that appear in his pictures are the most fleeting of subjects. Like snapshots of a dream world, his photographs seem to document the ineffable. Their unusualness in some ways parallels Brill’s own outsider status, which he acknowledges and seems to embrace. Describing himself as “someone who had authority problems and could never fit into any structured job”, Brill nevertheless spent many years after college driving a beer-delivery truck. He enjoyed the work and often, along
opposite: Ecstasis, 1999 selenium- and sulfide-toned silver print (edition of ten) image 6.75 ins., 17.1 cm diameter paper 11 x 14 ins., 27.9 x 35.6 cm right: Plasma, 2013 pigment print on rag with UV-shielding varnish image 5 x 4.5 ins., 12.7 x 11.4 cm sheet 8.5 x 11 ins., 21.6 x 27.9 cm framed 13.25 x 12.25 ins., 33.7 x 31.5 cm
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STORYTELLER OF HUMAN DESTINIES Myths and histories in the paintings of Gérard Lattier By ALLA CHERNETSKA
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All works are gouache on marouflage (canvas mounted on wood) unless otherwise stated
G
érard Lattier’s (b. 1937) paintings are often referred to as naive. They possess some features of folk art, with the apparent influence of archaic medieval miniatures and ex-voto, but the stories told and painted by Lattier are far from naive. They tell us about human values: good and evil, disasters and catastrophes, injustice and forgiveness. Based on human tragedies and the search for happiness, there are three key periods in his life that can be examined.
opposite: La Bête en Gloire, 1989–93, 35.4 x 51.2 ins. / 90 x 130 cm photo J.-L. Meyssonnier, artist’s collection above: Lenga muda, 1980, 35.4 x 51.2 ins. / 90 x 130 cm photo P. Mory, private collection
The first started with a series of tragic events that determined his destiny, and to some extent formed his outlook on reality. As a child, Lattier fought a dangerous case of encephalitis, winning a rare victory against the disease. His father worked at the local train station and during World War II, died on 27 April, 1944, in the US-led Allied bombing of pont de Diable in Nîmes. Left without a father and husband, Gérard and his mother were not only psychologically traumatised but also had to endure the stigma that accompanied their statuses of orphan and widow. Much later, in his painting Lenga muda (Mute language), Lattier declared his reluctance to be silenced about the humiliation his mother suffered when the society that had killed his father controlled her lifestyle through social workers. Intertwining the story of Jean Jaurès, the socialist leader and director of L’Humanité magazine who was assassinated for his political convictions, and Lattier’s mother’s enforced silence as a widow, the artist confronted the moral injustices of society.
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RAW STUDIOS
PROJECT ABILITY, SCOTLAND
Lea Cummings, ALTAR-ER (detail), coloured pen on cardboard skeleton, approx. 5 ft 3 ins. / 1.60 m
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ince 1984, the Glasgow-based visual arts organisation Project Ability has offered expert tuition to people with disabilities and mental ill-health of all abilities who want to make art and express themselves creatively. Over the past 30 years, an inclusive, positive and accessible environment that focuses on the attendees has been created, where artworks are shown and sold. The organisation runs three main programmes: Aspire, a workshop for adults with learning disabilities; ReConnect, a programme for adults with experience of mental ill-health; and Create, which caters for budding artists with disabilities, aged five to 28. Some funding comes from central and local government, and there is support from numerous trusts and foundations. To round it off, participants in the programmes pay a weekly charge to attend. Every week between Monday and Saturday, about 250 people use the studios and the professional materials and tuition that are provided. The large, open-plan studio in Project Ability’s headquarters at Trongate 103 has a community feel and is an ideal setting in which to work. Hundreds of artworks are produced by their participants each term, much of which is professionally exhibited. The 58
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organisation has other community venues around the city, and works with agencies that support people with disabilities and mental illness around the UK. Participants can exhibit in the gallery space at Trongate 103, where Project Ability’s highly-acclaimed exhibitions are held. They have been involved in international exhibitions around Europe and as far afield as Japan, Australia, America and Canada. Project Ability also organised the International Summit for Learning Disability Artists and their Support Studios at Trongate 103 in March 2015, which ten international studios attended. Project Ability offers a volunteering programme for students and graduates, and recent volunteer Ian McAulay described his experience: “I would recommend any artist to volunteer at Project Ability. It is a wonderful opportunity, the facilities are very good, it’s a fantastic
opposite: John Smith, Lots of Monkeys, 2015, pen and acrylic on canvas, 27.6 x 23.6 ins., 70 x 60 cm all photos Bérengère Chabanis
Aspire workshop
Ceramic work in progress (Cauliflower) by Cameron Morgan, 2015
learning curve and, most importantly, you get to work with some incredible people.� Project Ability is dedicated to offering a first class service to everyone who attends their classes. Some people have been attending the workshops for over 20 years, and they remain as eager to create as ever. The culmination of Project Ability’s efforts is a unique, inclusive
and positive experience for the artists, tutors and volunteers artists who make up a community where everyone has the opportunity to flourish. Nuala Ernest Project Ability, 103 Trongate, Glasgow G1 5HD, Scotland www.project-ability.co.uk
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Robert Gie
EXHIBITIONS
ART BRUT IN AMERICA: THE INCURSION OF JEAN DUBUFFET American Folk Art Museum, New York October 13, 2015 – January 10, 2016 Over the years, museums and galleries in the United States and other parts of the world have presented numerous memorable, substantive exhibitions of art brut and Outsider Art. However, perhaps no presentation of this kind of art that has been seen in the U.S. in recent years has been as illuminating and historic as “Art Brut in America: The Incursion of Jean Dubuffet”. Organised by Valerie Rousseau, AFAM’s curator of self-taught art and art brut, it features some 200 works that have been loaned by the Collection de l’Art Brut in Lausanne, Switzerland. That museum, the first of its kind in the world, was founded in 1976. The core of its collection came from the French modern artist Jean Dubuffet’s own holdings of works made by visionary autodidacts whose creations he had dubbed “art brut” (“raw art”). This exhibition explores the description of this art genre that Dubuffet elaborated and put forth in the 1940s. It also examines the impact of a talk he delivered in Chicago in 1951, 60
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in which he championed the antimainstream aesthetic values he saw reflected in the works of the most original art brut creators. (He called them “auteurs”, preferring the French word for “author” or “creator” instead of “artiste”.) This idea-rich show recounts the history of the early development of Dubuffet’s art brut collection; it also looks at the period
of just over a decade, during which he placed it with his friend, the Philippine-American abstract painter Alfonso Ossorio, who displayed them in his home on Long Island, near New York City. There, he showed them to his associates in the art world, like the painter Jackson Pollock. Examining exactly what, historically and essentially, art brut
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Gaston Chaissac
August Forestier
Jeanne Tripier
Adolf Wölfli
Aloïse Corbaz
EXHIBITIONS
was and is, this exhibition includes such works as a head made of seashells by the mosaic-maker PascalDésir Maisonneuve (1863–1934), inkon-paper drawings of fantasy figures by Gaston Chaissac (1910–1964), and emblematic drawings in pencil and coloured pencil on paper by Adolf Wölfi (1864–1930) and in coloured pencil and other media on paper or
cardboard by Aloïse Corbaz (1886–1964). Some of the unusual pieces on view, which Dubuffet had amassed, include chunks of flint or stone found and painted by Juva (the artist’s name of an Austrian prince who was born in 1887) and talismanlike objects made of paper, plant fibres and string by “Jean Mar” (Jean Marchand, 1828–1911), who suffered
from megalomania and never explained the meanings of his abstract creations. There is much more in this eye-opening exhibition, which both implicitly and explicitly explores just what constitutes art brut and the distinctive aesthetic character of creations that can properly be assigned that label. Edward M. Gómez RAW VISION 88
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Marianne Boesky Gallery 118 East 64th Street November 5 – December 19, 2015 88-year-old Thornton Dial has, over the last 30 years, solidified his position and importance in the American art canon, often struggling against an institution that is overwhelmingly white and college educated. He has transcended the space between “Outsider” and “mainstream” art, calling the legitimacy and necessity of both categories into question. His recent representation by Marianne Boesky Gallery, and subsequent exhibition “Thornton Dial: Works on Paper”, signals a broader shift in how we perceive the distinction between Outsider and mainstream art, a division that is increasingly porous. Rather than the imposing, dense, colourful assemblages, paintings, and sculptures by which Mr. Dial has come to be known, the gallery chose to show his lesser known drawings and watercolours. These works, which were created between 1990 and 2008, are softer and subtler than their monumental counterparts. The drawings are rendered in pale graphite washes on stark white backgrounds with infrequent blushes of blue, green, and yellow in ghostly conte crayon. The watercolours are, in comparison, electric, often filling the entirety of the paper with areas of solid colour. In both, graceful, undulating lines carve out figures from the ether, mostly women, tigers and birds, performing tasks that span from mundane to mythical. In two works from 1996, Holding the Peace and Holding up the Peace, two women grasp at a fluid, slippery form that signifies the titular concept. 62
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PARIS OUTSIDER ART FAIR Hotel du Duc, Paris October 22–25, 2015 This October, the third instalment of the Paris Outsider Art Fair took place at Hotel du Duc in the centre of the city. The Fair brought together 38 galleries and projects selling and promoting the work of outsider artists, with some big names taking part for the first time this year including New York’s Ricco Maresca Gallery and London’s England & Co. Pieces by Bill Traylor, Martin Ramirez and George Widener – classic, renowned outsider artists – were shown along with work by emerging artists from all over the world. For example Shinya Fujii, a Japanese artist whose intricate ink works were showcased by Outside In
Marie-Rose Lorter at Marie Finaz
It appears to be just on the verge of escaping their hold, the women’s faces contorted by the struggle to contain it. Another work, True People is made up of the disembodied heads, screaming out in a basic, universal, existential terror that lies just below the surface of the selves we display on a day to day basis. Several works show tigers, which Dial has consistently used as a symbol of black struggle and resilience, tangled up in various knots with humans with no clear end or resolution to the wrestling match. Accompanying these grand allegories are more quotidian scenes. A man and a woman in the foreground of Jealousy engage in what might be an act of either intimacy, rage, or lascivious conversation while a second man exits the frame. A swirled, discombobulated figure with open mouth and upturned eyes in A Lady Trying to Straighten Out Her Ideas scratches her head and writhes in anxiety. Two women, one holding an American flag, the other, a flower, look onward stoically in another work. In these works, Dial places grand and quotidian on similar scale, renders them in the same lines, colours, and forms. As a result, fantastical narratives become relatable, and daily comings and goings attain an air of magic and myth. It is for this ability, to lend attention to the overlooked and to make large concepts digestible, that he has been continually celebrated, an ability which is certainly on display in the current show. Paul Brown
Robillard at Nicaise
THORNTON DIAL: WORKS ON PAPER
EXHIBITIONS
Alfred Wallis at England& Co
Thornton Dial
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(UK). Australia was represented for the first time this year by Sydney’s Coo-ee Aboriginal Art Gallery, and the Creative Growth Art Center showcased an impressive array of pieces by the artists it works with in its professional studio space in California. Moscow’s Art Naive Gallery represented Russia this year, the Galéria in Budapest brought works by Hungarian outsider artists, and the Paris-based Halle Saint Pierre opened a pop-up bookshop, selling literature on Outsider Art and its context in the art world. Alongside the stalls, there was a specially curated show featuring the fantastical ceramic creatures of Shinichi Sawada, who has spent the majority of his adult life living at the Ritto Nakayoshi Sagyojo institute in Japan where he divides his time between working in the sculpture studio and in the hospital’s bakery. A panel discussion focusing on sexuality in the work of Eugene Von Bruenchenhein, Henry Darger, Aloïse Corbaz and Miroslav Tichý
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von Bruenchenhein, Imagists, Monsiel, McKesson, Mabussa, Vahan Poladian
Joe Coleman, Minnie Evans, Seillé, Peploe, Papa, Canadian Environments
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
Rio Museum, Voodoo,Carvers of Poland, Naïves of Taiwan, E. James
Ben Wilson, Inner Architecture, Fasanella, Phase 2, Fryar, Gordon’s Patio
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22 Roger Cardinal Bentivegna, La Tiniaia,Grgich, Collis, Ray Morris
Alex Grey, Lacemaker, Art & Madness, Luna Rossa, Sekulic, Lee Godie, Uddin, Mary Nohl Palace Depression, Saban, Benavides
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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
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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
Darger, R/stone Cowboy, Thévoz: Chiaroscuro, Pearl Blauvelt, Bressse
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William Hawkins, Expressionism and Insanity, Giovanni Battista Podesta
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Finnish Outsiders, Sylvain Fusco, Roy Ferdinand
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Hung Tung, Photography, Bernard Schatz, Jessie Montes
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Lobonov, Zindato, JB Murray, Anthony Jadunath, Seymour Rosen
Emery Blagdon, ZB Armstrong, Bali, Imppu (Finland), Mari Newman
Tom Duncan, Movie Posters, Spanish Sites, Rosa Zharkikh
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Paul Amar, Phyllis Kind, D.M. Diaz, W. Dawson, Joe Minter, Survivors, Martindale
Colin McKenzie, Eugene Andolsek, Surrealism/Madness, INSITA, Churchill D
Electric Pencil, Gugging, JJ Cromer River Plate Voodoo
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Mark Beyer, Howard Finster, Veijo Ronkkonen, Alexis Lippstreu
Alex Grey, Hiroyuki Doi, Josef Karl Radler, Ferdinand Cooper, Patrick Joyce
Prophet Isaiah Robertson, SchröderSonnenstern, Madge Gill, John Gilmoour
Mammi Wata, Fred Ressler, Mary Whitfield, Isaiah Zagar
61 Sam Doyle, Myrtice West, Lost In Time, Romanenkov
71 Mario Mesa, Tim Lewis, Joel Lorand, Chelo Amezcua, Clayton Bailey
81 Andre Robillard, Johnny Culver, Lubos Plny, Arte Bruta, Donald Pass
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
3 Picassiette, Benefiel, Vodou, Dellscahu, Mediumistic, Van Genk
4 Eli Jah, Singleton, Marie-Rose Lortet, Ross Brodar, Catalan site
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
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Bill Traylor, Art Brut Today, Meta Doodles, Billy Tripp, Gugging, Zoran Tanasic
Dernier Cri, Rei Kawakubo, Bonifacio, Blackstock, St. EOM, Porret-Forel
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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
Dr. Leo Navratil, Ilija Bosilj, Simon Sparrow, Melvin Way, Pradeep Kumar
41 G. Aiken, Junkerhaus, Kurt Haas, P Lancaster, Minnie Evans
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
84 Julian Martin, Ronald Lockett, Solange Knopf, Larry Lewis, Emma Hauck
42 Boix-Vives, Fred Smith, Rosa Zharkikh, Donald Mitchell
53 Toraja Death Figures, Chauvin Sculptures Josef Wittlich, Nigerian Sculpture
43 Thornton Dial, Richard Greaves, Martha Grunenwaldt
Theo, Jane-in-Vain, Janet Sobel, Lanning Garden
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Maura Holden, Clarence Schmidt R.A. Miller, Hans Krüsi, Silvio Barile
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Speller, Norbert Kox, Haiti street art BF Perkins Damian Michaels
Philly/K8, Sefolosha, Palmer, Belardinelli, Ludwiczac, Oscar’s sketchbook
75 August Walla, Adolf Wölfli, Antoni Gaudi, Tim Wehrle, Frank Walter, Art & Therapy
85 Nek Chand, Johann Fischer, Judith Scott, George Ehling, Spanish Environments
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76 CJ Pyle, Aloïse Corbaz, Mr Imagination, John Danczyszak
86 Howard Finster, Gerard Sendrey, Aleister Crowley, Dominic Espinoza
Burning Man, Matsumoto, Nicholas Herrera, William Fields
67 Renaldo Kuhler, Sonabai, Outsider Films, Giov Bosco, Finster/Ginsberg
77 Martin Ramirez, Bruce New, Stephanie Lucas, Ellen Greene, Art in Houston
87 Madge Gill, JeanPierre Nadau, David Best, Jamaican Intuitives