3 Michel Thevoz,Art Brut(New York: Rizzoli International Publications, 1976), p. 125. 4 Kornfeld, op cit., p. 9. From an interview between prison artist Charles Mosby and Charles Koh for radio station WFCRFM,Amherst, Mass., May 25, 1990. 5 Pat Parsons, unpublished paper "Inez Nathaniel Walker: Biographical Narrative of an 'Outsider' Artist"(December 1984), p. 5, written for Dr. Robert Bishop's course "20th Century American Folk Art," New York University. 6 Elinor Lander Horwitz, Contemporary American Folk Artists(Philadelphia, J.B. Lippincott Company, 1975 ), p. 58. 7 Pat Parsons, op. cit., p. 10. 8 "Self-Taught Artist," p. 8. 9 Ibid. 10 Ibid. 11 Ibid., p. 5. 12 Elizabeth Bayley, telephone interview with author, March 25, 1997. 13 Pat Parsons, telephone interview with author, March 16, 1997. See also "SelfTaught Artist," p. 5. 14 "Self-Taught Artist," p. 5. 15 Michael Hall, artist and author, interview with Inez Walker in 1973,quoted in Elinor Lander Horwitz, Contemporary American Folk Artists (Philadelphia, J.B.
Lippincott Company, 1975 ), p. 60. 16 Pat Parsons, telephone interview with author, March 16, 1997. 17 "Self-Taught Artist," p. 8. 18 Michael Hall, interview with Inez Walker in Transmitters: The Isolate Artist in America (Philadelphia: Philadelphia College of Art, 1981), p.32. 19 Hall,in Contemporary American Folk Artists, p. 60. 20 Dr. Leo Navratil in Roger Cardinal, "Figures and Faces in Outsider Art," in the Portraitsfrom the Outside exhibition catalog(New York: Parsons School of Design), p. 22. 21 Ibid. 22 Gardner's Art Through the Ages, tenth edition, eds. Richard G. Tansey and Fred S. Kleiner(Fort Worth, Tex.: Harcourt Brace College Publishers, 1996), p.47. See also Cardinal, op. cit., pp. 22-29. 23 Tansey and Kleiner, op. cit., p. 45;and Cardinal, op. cit., p. 27. 24 Pat Parsons, telephone interview with the author, March 26, 1997. In this discussion, Parsons remembered a lecture by Professor Paul C. Vitz in a course "The Psychology of Visual Art," given at New York University in 1983. Parsons quotes Vitz in her unpublished paper,"Toward an Evaluative Theory for 'Other Art': The
Art Made by Untrained Artists," 1984. 25 Richard Brilliant, Portraiture(Cambridge, Mass.: Harvard University Press, 1991), p.43. See also Brilliant,"Portraits: A Recurrent Genre of World Art," in Jean M.Borgatti and Richard Brilliant's exhibition catalog Likeness and Beyond:Portraits from Africa and the World(New York: The Center For African Art, 1990), p. 20. 26 Brilliant, Portraiture, p. 141. 27 Hall, Transmitters, p. 32. 28 Willie Morrow,400 Years Without a Comb (San Diego: Morrow's Unlimited Inc., Black Publishers of San Diego, 1973), pp. 75,86. See also bell hooks, "Selling Hot Pussy," in Black Looks (Boston: South End Press, 1992), pp. 70-71.(hooks discusses black female singers' obsession with hair) and Judith Wilson,"Beauty Rites: Towards an Anatomy of Culture in African American Women's Art," in The International Review ofAfrican American Art(Hampton, Va., Hampton University Museum, vol. 11, no. 3, 1994), pp. 11-17,47-55. (Professor Wilson explores hair style in African American women's art both aesthetically and culturally, and offers a broadened interpretive perspective to previously considered notions). 29 Morrow, op. cit., p. 74.
7
_ Presently showing the works of
WILLIAM HAWKINS and BENI E. KOSH Sherrie Bingham Chicatelli
Mark Edward Vance
12801 Larchmere Boulevard Shaker Heights, Ohio 44120
216-721-1711
50 SUMMER 1997 FOLK ART