RAWVISION87 AUTUMN 2015
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 firstname.lastname@example.org website www.rawvision.com US OFFICE 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.
RAW COLLECTING The varied collection of Victor Keen in Philadelphia.
JAMAICAN INTUITIVES Survey of vibrant artists from Caribbean island.
JUDY SASLOW Interview with the renowned Chicago gallerist.
MADGE GILL New images of works by England’s most famous outsider artist.
SELBY WARREN The resurgence of an Australian self-taught artist.
DAVID BEST Burning intricate temples, at Burning Man and beyond.
JERRY TORRE, THE MARBLE FAUN Original stone sculptures by self-taught New Yorker.
JEAN–PIERRE NADAU French self-taught artist’s huge works in black ink.
FILDER AGUSTÍN PEÑA Shamanic visionary paintings, traditions and culture.
RAW STUDIOS Kunsthaus Kannen studios near Münster, Germany.
RAW REVIEWS Exhibitions and events.
GALLERY & MUSEUM GUIDE A round-up of notable venues around the world.
BUREAU FRANÇAIS 37 Rue de Gergovie, 75014 Paris tel +33 (0) 1 40 44 96 46 ISSN 0955-1182 Raw Vision (ISSN 0955-1182) September 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).
COVER IMAGE: Madge Gill making a rug at home, Plashet Grove, East Ham, 1947. The rug contained at least 2,000,000 stitches and was the result of six months' work. Paul Popper/Popperfoto/Getty Images © Estate of Edward Russell Westwood.
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MEDAILLE DE LA VILLE DE PARIS
AUSTRALIA, AUSTRIA, BELGIUM, BRITAIN ABCD COLLECTION AT ART ET MARGES
AFRICAN ART FAIR
Sep 25 – Jan 24 Du nombril au cosmos: Autour de la collection abcd / Bruno Decharme explores man’s place in the universe. Artists include Janko Domsic, Edmund Monsiel, Luboš Plný, Oswald Tschirtner, Jeanne Tripier and Adolf Wölfli.
Oct 15–18 The third edition of Europe's leading Contemporary African Art Fair, 1:54, is returning to London from October 15–18. The fair will feature 36 exhibitors showcasing work by more than 150 African artists across the East, West and South Wings of Somerset House.
JAPANESE AND SWISS ART BRUT until Nov 18 and May 22 Both galerie gugging and museum gugging turn their attention to Japan and Switzerland, beginning the fall season with an extensive show titled art brut: japan – schweiz.!. Previously shown at Museum im Lagerhaus, (St. Gallen), the exhibition will present contrasting works by François Burland (Lausanne), Yuichi Saito (Saitama Prefecture) and Junko Yamamoto (Hyogo Prefecture). Showing until November 18 at galerie gugging and until May 22 at museum gugging.
SOMERSET HOUSE Strand, London
GALERIE GUGGING, Am Campus 2, 3400 Maria Gugging
Rue Haute 312, 1000 Brussels, BELGIUM
WC2R 1LA, UK
AUSTRIA. www.gugging.org, www.gugging.at
HENRY BOXER COLLECTION
Sep 27 – Dec 10 The MADmusée has been invited by the Théâtre de Liège for a solo show of the work of Eric Derkenne.
Aug 29 – Oct 10 Lisa Reid: The Devil’s in the Detail is a multimedia solo exhibition with over 60 artworks by the Melbourne artist who is a long-standing artist from Arts Project’s Northcote studio.
Nov 18 – Feb 7 A Discerning Eye: Highlights of the Henry Boxer Collection showcases an extraordinary array of artistic gems from Boxer’s personal and gallery collection, amassed over a 45-year period. Artists include Madge Gill, Scottie Wilson, Donald Pass and Louis Wain.
ART ET MARGES
ARTS PROJECT THÉÂTRE DE LIÈGE
AUSTRALIA, 24 High St
Place du 20-Août, 16, B-4000 Liège, BELGIUM
Northcote VIC 3070
ORLEANS HOUSE GALLERY
Riverside, Twickenham, TW1 3DJ, UK
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FRANCE, GERMANY ART CRU BERLIN
Oct 1–4 The international fair for outsider art will take place from October 1–4 at the Kunsthaus Kannen, Münster. Programme details are available on the website below. Lectures will focus on the work and practice of outsider artists and give an overview of outsider art from all over Europe. The accompanying art show has been organised with the Kunsthalle Düsseldorf and the Folkwang Museum.
Sep 11 – Oct 17 Einschluss juxtaposes works by trained artist Antje Neppach with paintings by self-taught artist and psychiatrist Charlotte Neidhardt. From October 10 until December 5, oil and tempera paintings by Stephanie Bialek will be shown.
KUNSTHAUS KANNEN 2X2 FORUM
Oct 22–25 e third Parisian edition of the Outsider Art Fair will take place in the Hôtel Du Duc in a 1,000 squaremetre space. ere will be 38 international exhibitors, up from 25 the two previous years. New dealers include Carl Hammer Gallery (Chicago), Ricco/Maresca Gallery (New York), Hirschl & Adler Modern (New York) and Galerie du Marché (Lausanne). e Fair will feature a specially curated booth of the works of Japanese sculptor Shinichi Sawada.
OUTSIDER ART FAIR PARIS
GALERIE ART CRU BERLIN
HÔTEL DU DUC
KUNSTHAUS KANNEN, Alexianer Münster GmbH
Oranienburger Str. 27
22 rue de la Michodière, 75002 Paris, FRANCE
Alexianerweg 9, 48163 Münster / Westfalen GERMANY
10117 Berlin, GERMANY
until Mar 13 HEY! Modern art & pop culture / Act III is the third and final installment in the series of exhibitions by editors of the eponymous publication, Anne & Julien. Featuring 63 international lowbrow, outsider and comic artists, including Gabriel Grun, Marion Peck, Joël Negri, Albert Sallé, Alain Bourbonnais and Mark Ryden.
Sep 18 – Nov 15 Search for Meaning and Crisis features works by Sonja Gerstner and Marcia Blaessle, who painted their dreams and nightmares until they took their own lives. From December 17 until April 10, Dubuffet’s List will depict Dubuffet’s view on the Collection, based on his visit in September 1950.
Sep 24 – Nov 7 Les Maîtres Marseillais contemporains: JeanJacques Ceccarelli, Gérard Traquandi, Pascal Verbena is the first in a series of exhibitions on contemporary master artists from Marseille.
HEY! AT HALLE SAINT PIERRE
12 rue de la Cathédrale
HALLE SAINT PIERRE
Klinik für Allgemeine Psychiatrie Universitätsklinikum
13002 Marseille, FRANCE
2, rue Ronsard, 75018 Paris, FRANCE
Heidelberg, Voßstraße 2 69115 Heidelberg, GERMANY
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USA DUBUFFET AT AFAM
Oct 3 – Sep 4 The Big Hope Show, which opens on the eve of AVAM’s 20th anniversary celebration, champions the transformative power of hope. More than 25 visionary artists are exhibited, including Bobby Adams, Margaret Munz-Losch, Chris Roberts-Antieau, Nancy Josephson and Flaming Lips frontman Wayne Coyne.
Oct 13, 2015 – Jan 10, 2016 Art Brut in America: The Incursion of Jean Dubuffet, a collaboration between AFAM and Collection de L’Art Brut, brings 200 works from Dubuffet’s original collection to the US for the first time. Artists include Aloïse Corbaz, Auguste Forestier, Madge Gill, Augustin Lesage, Adolf Wölfli, Pascal-Desir Maisonneuve, Henri Salingardes and many more, with media ranging from the traditional to chewed bread, saliva, egg shells and other innovated materials. The exhibition relates to Dubuffet’s visit to the US in 1951 and his introduction of art brut to the US through an exhibition that ran until 1961, the time of the birth of AFAM. A unique opportunity to see these works.
AVAM CELEBRATES 20 YEARS
AMERICAN VISIONARY ART MUSEUM
AMERICAN FOLK ART MUSEUM
800 Key Highway, Baltimore, MD, 21230
2 Lincoln Square, Columbus Avenue, New York, NY 10023
SAHOLT AT INTUIT
After 45 years, The Ames Gallery is closing. Major savings are currently oﬀered on the entire inventory, with more items being added to the website each week until the end of 2015.
until Jan 3, 2016 Mad as Hell: The Collages of Richard Saholt features collages by the late WWIII veteran, layering printed words/phrases and images that call on his struggles and his time in the military. dRAW also continues until January 3, 2016.
until Feb 8, 2016 Self-taught painter and maker of drawings Lee Godie was known for her self-portraits. She also took hundreds of photobooth images that she embellished and sometimes used as a signature on her works. These photos are shown in Lee Godie: SelfPortraits.
AMES GALLERY CLOSES
JOHN MICHAEL KOHLER ARTS CENTER
THE AMES GALLERY
INTUIT: THE CENTER FOR INTUITIVE AND OUTSIDER ART
608 New York Avenue
2661 Cedar Street, Berkeley, CA 94708
756 N Milwaukee Avenue Chicago, IL 60642
Sheboygan, WI 53081
http://www.jmkac.org RAW VISION 87 13
IN PHILADELPHIA, A PERSONAL MISSION TO CREATE A HOME FOR ART By EDWARD M. GÓMEZ
hat to do with a collection of several hundred paintings, drawings and objects whose character together, as a group, is as distinctive as the taste and point of view of the art-and-design lover who amassed them over several decades? For the retired attorney Victor Keen, the solution was to acquire and renovate a historic brick building in the Spring Garden district of north Philadelphia, the former site of the Bethany Mission for Coloured People. A non-denominational, Christian organisation that was founded by Quakers in the 1850s, the Mission moved into the building Keen now owns in 1869. There, Keen has created an attractive, private exhibition space that, as he says, “is an extension of my own home”. Today, the building features a main, lower floor that contains a salon (with displays of works on paper by the Argentinian-born artist Marcos Bontempo and of shiny, antique, electric toasters) and guest rooms, all of which are filled with art, and an upper, high-ceilinged room where large artworks are displayed. The building is situated next door to another renovated old structure, which houses the Performance Garage. That facility,
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which includes rehearsal studios and a small theatre, is run by Keen’s wife, Jeanne Ruddy, a former principal dancer with the Martha Graham Company. The Keens’ collection is more in-depth in its holdings of particular artists’ works and genres of objects – including early twentieth-century Bakelite radios, antique toys and varieties of opaque milk glass – than it is encyclopaedic overall. As a result, its character may feel more personal and refreshingly unpredictable than larger, more comprehensive collections. Keen says, for example, “I really like George Widener’s works, with the mysterious mathematical calculations and historical-event dates on which they’re based, and the artist and I have become good friends.” Keen is also, well, keen on the works of James Castle, Martín Ramírez, Bill Traylor, William Hawkins, Justin McCarthy, Inez Nathaniel Walker and Purvis Young, among others. From time to time, he makes his private viewing space available to small groups for special events. “On such occasions”, he says, “it’s a pleasure to be able to share the work of some of the world’s best self-taught artists with folks who may be seeing it for the first time.”
clockwise from left: Victor Keen alongside two works by George Widener; Martín Ramírez, Untitled (Trains and Tunnels), c. 1960–1963, gouache, crayon, coloured pencil and pencil on lined and pieced paper, 17 x 78 ins. / 43.2 x 198 cm; Bakelite radios; chrome toasters; two paintings on tin plate by Sam Doyle; two paintings by William Hawkins opposite page, clockwise from lower left: artworks by John Serl; Jim Bloom; Clementine Hunter (three works, including Plantation Life, c. 1970–80, the large, horizontal piece); Elijah Pierce (partially showing a cheetah); and Prince Twins Seven-Seven (The Mother and Tattooed Body..., 1980, and Boxes, n.d., mixed media on canvas, 30 x 30 ins./ 76.2 x 76.2 cm)
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MASTERS OF THE CARIBBEAN By CHARLOTTE C. MORTENSSON
above: Leonard Daley, Untitled, n.d., mixed media on hardboard, 24.8 x 17.3 ins. / 63 x 44 cm opposite: Leonard Daley, Untitled, n.d., mixed media on hardboard, 27.6 x 25.2 ins. / 70 x 64 cm 18
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An avid collector-researcher of the art of Jamaican Intuitives offers an appreciation of their distinctive achievements
y introduction to the art of the Jamaican Intuitives was unnerving. It was 2006, and I was in Jamaica to attend a music festival. at summer, the National Gallery of Jamaica (NGJ) in Kingston, the capital on the small island country’s southern coast, was presenting “Intuitives III”, a survey of the works of its best-known self-taught artists. It was the
third such exhibition this national museum had mounted since 1979, when its then-director and chief curator, David Boxer, who still held those positions in 2006, had organised “e Intuitive Eye”, the first show of this kind. In fact, it was that exhibition that gave the name “The Intuitives”, a term Boxer had coined, to a group of remarkable Jamaican autodidacts. It had featured works by,
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JUDY SASLOW As one of America’s most successful galleries of Outsider Art closes its doors, we share some reminiscences with its owner Interview by RUTH LOPEZ
drops. On the wall, facing Saslow’s desk, hung a large Bill Traylor blue silhouette – one of her favourites. Saslow said she hopes to do some volunteer work in arts education for children. One of the first things that she will do with her free time, however, is take a long train trip, although she has not decided on a destination. “The idea of going to some places I have never been, or revisiting parts of Europe, and sitting back and looking out the windows is really appealing to me,” Saslow said. Raw Vision: How did you first become interested in this sort of art and what were your first acquisitions? Judy Saslow: I’ve always been fascinated by the talent of those who could create and who could put something down on paper, or make something with their hands. I didn’t have that talent and my teachers at school certainly were not encouraging. They would tell me: “That is not the way you do it, you have to do it this way.” So, I was totally intimidated as a kid because I couldn’t do it their way. When I began to travel and see what artists in other cultures did with the most simple materials – pencil or raw clay or wood – that really impressed me, and I began to appreciate that art and to collect it. I picked up some of my first pieces at markets in Africa and Mexico. Then a boyfriend of mine introduced me to the work of Bill Traylor. There was a sympathetic side of me that was attracted to Traylor’s story, but I was just as fascinated by his drawings. I don’t have any other artist in my collection in the same depth as I do Bill Traylor. Judy Saslow with some of her collection of works by Bill Traylor
efore opening her eponymous gallery in the River North neighbourhood of Chicago in 1995, Judy Saslow practised family law and specialised in mediation. Saslow, one of the founding members of Intuit: The Center for Intuitive and Outsider Art (established 1991), was also a serious collector. Earlier this year, Saslow decided to retire and close her gallery which had been instrumental in introducing European artists to the United States, including from the Haus der Kunstler in Gugging. We met in her office during her last week as a gallery owner, where the desk between us was covered with piles of paper along with various candy tins and jars, and a green, apple-shaped bowl filled with lemon
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When you first opened your gallery, how did you choose artists and what did you show? There were several factors. First of all, prior to opening the gallery, I was somebody who would walk up and down this area – when it was a highly congested area of galleries – and I was an avid collector at that time. I can’t overlook an old family friend, Chip Tom, because he is one of the people who encouraged me to open the gallery. He, and other friends, always told me that I had the eye. When I started thinking about the business, it occurred to me that I did not want to go into a conflicting situation with the other gallery owners. I decided to focus on what wasn’t being shown in Chicago and what wasn’t being shown was European [outsider]
Member of Art Dealers Association of Chicago
top right: Oswald Tchirtner above: Bill Traylor right: Michel Nedjar
art. I’d hadExhibiting an opportunity a little bit Juneto1 travel – Julyaround 14, 2012 and interact with international self-taught artists who I 300 W. Superior Chicago, IL 60654 had met along the way so I decided that I would be P 312 943 0530 F 312 943 3970 Tuesday – Friday 11 to 6 Saturday 11 to 5 devoted exclusively to international self-taught artists. additional information visit Then I For wouldn’t be inimages conflictand with the other dealers, so www.jsaslowgallery.com hopefully they wouldn’t hate me so much. I didn’t want them to be mean. For the first few years of my existence, I only showed self-taught and European art. How did you find and then choose artists? When I opened, I did my first buying trip in Europe. People were not going to just send me art. I was a new person and they did not know me from a hole in the wall. So, I had to buy the work, I could not take any on consignment. After a couple of years they knew I would be honest. I had visited the Collection de l'Art Brut in Lausanne, Switzerland years before and met Geneviève Roulin [the assistant director]. She was very instrumental in introducing me to certain individual artists. Michel Nedjar, who lives in Paris, was one of the first artists I represented. We are still talking-buddies. And François Burland is another artist who I represented early on.
for additional information
top left: Johann Fischer
Has the market changed over the years and, if so, in what way(s)? I don’t know how to assess the situation, but I can say that of course nowadays there is less of a clear-cut line between the self-taught and the contemporary. It is not as sexy or dramatic a thing as it once was. But also what I keep on THE OUTSIDER ART FAIR hearing is that people are increasinglynew attracted to art dates: online and that they are not necessarily going into a 8–11, 2014 gallery to see the actual piece. I don’t understand it as that would not satisfy me, but it seems Center to satisfy other548 people.
The Judy Saslow Gallery was well known for presenting many artists over the years, including:
JUDY A SASLOW GALLERY
JUDY A SASLOW GALLERY
548 West 22nd St, New YorK, NY Booth # 37
Do you think it is still possible to discover genuine outsider artists? Yes, I think anything is possible. I would guess that it is increasingly rare to find somebody who is so far removed from society and that would be truly an outsider as we identified people in the past. But I am sure it still exists that someone is by himself or herself just drawing and nobody realises it and nobody is paying attention. And then it will be, “Oh, wow, look what this person is doing!” You just don’t have that many people living off in the hinterlands and our society is more dense today – unfortunately.
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MINE WORKER’S HANDS The arts and crafting of Madge Gill (1882–1961)
By SARA AYAD with photographs by EDWARD RUSSELL WESTWOOD
Madge Gill examining an Indian carving at her home in Plashet Grove, East Ham. She wears a dress of embroidered wools, of her own design facing page: the artist’s hands at work embroidering, with odd scraps of coloured wool. “Mine worker’s hands”, Gill described them in a letter to her doctor, Dr Boyle 26
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first encountered Madge Gill (1882–1961) in the East End Star of January 1940 while looking up something quite other. A few lines, describing what otherwise sounded possibly a rather humdrum local exhibition, jumped out as denoting something certainly “other”, and quite extraordinary: A Housewife to Artist A HUNDRED and twenty feet of cotton cloth at a few pence a yard covered with minute drawings of women’s faces in Indian inks, was the most important work shown in the eighth Autumn Exhibition of the East End Academy which opened last month at Whitechapel Art Gallery. It fills an entire wall of the gallery, and gives the impression of a subtly woven tapestry. The artist, Mrs Madge Gill, is a middle-aged East End housewife, who has steadily refused to sell her work in spite of remarkable offers. Hang on, I thought; “a hundred and twenty feet of minute drawings”? I could not think of any precedent in 1939 for what Gill appeared to be up to. Back then, few artists were working on such a scale: Jackson Pollock
(1912–1956) sprang immediately to mind, but his larger works did not get going in earnest until around 1943, the time of his one-man show at Peggy Guggenheim’s gallery. In 1958, two years after his untimely death, the Whitechapel Gallery staged Pollock’s first UK exhibition (“Jack the Dripper” was Time’s moniker the year he died). In January 1939, the same year Gill exhibited her 120-foot drawings (the exhibition ran from November 6 to December 22), Picasso’s Guernica was shown at the Whitechapel, a 25-foot monster of expressive force. Had Gill seen it? Perhaps. But, I later learned, by then she had been working in her own singular expressive fashion for nearly two decades. Unlike Pollock or Picasso, Gill worked on a grand scale but minutely, in her bedroom or drawing room, on a roll-to-roll contraption rigged up by her son. According to John Duddington, the Whitechapel’s thendirector, she was only able to see her new work in its entirety at exhibition: This is because she works in her small room at home, and to be able to handle such masses of material, is forced to draw bit by bit, winding up the cloth on a roll. RAW VISION 87
BACK TO THE BUSH Selby Warren, a rare self-taught artist from the outback of Australia By ROGER SHELLEY
elby Warren (1887–1979) lived much of his 92 years in the tiny settlement of Trunkey Creek, rural New South Wales, Australia. His paintings reflect a “time past”, when country life was basic and tough. Warren painted simply because he wanted to and, until he gained recognition towards the end of his life, he never attempted to sell a picture, keeping his art to himself. From an art-world perspective, Warren seemed to appear fully formed as an artist – having no training, apprenticeship, career development, and being without teachers, artist-peers and dealers. It was as though a bird had flown over the rugged terrain and dropped a seed, from which a single flower had sprouted, growing alone in
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an otherwise barren landscape. Warren painted in a maledominated and unsophisticated bush town where artmaking of any kind just “wasn’t the sort of thing blokes did”. His family’s reaction to his art was that of bemusement; the locals were dismissive. Warren lived at Hill 90, along the road from the Black Stump Hotel, the focal point of Trunkey Creek. And it was there, in June 1971, that Warren was discovered by Garth Dixon, an art lecturer from a college in the nearby town of Bathurst. Dixon had stopped at the Black Stump Hotel on his way home from a fishing trip and, behind some old bottles on a shelf, noticed the corner of a painting and asked the publican if he could
look at the whole picture. Liking what he saw, he asked about the artist and was told by the publican, “It was done by a silly old bugger who lives halfway up the hill.” Dixon decided to visit the artist and was met by a elderly, snowy-haired man with a harelip. Warren guardedly welcomed the stranger into the house. Alma, Warren’s wife, remained a quiet observer in the background. Dixon was overwhelmed by the colourful spectacle of paintings inside that plastered the house from floor to ceiling. He recognised that this work needed to be exposed to a wide public. He sent some photographs of the paintings to Rudy Komon, Sydney’s most respected art dealer at the time, who quickly visited the 84-year-old artist and arranged for an exhibition to be held at his
opposite: Piebald Pony, 1967, acrylic and housepaint on paper, 23 x 13 ins. / 58 x 34 cm
Sydney gallery. The exhibition, in February 1972, was a marked success: most of the works were sold, and Warren received considerable media attention. Komon organised two more exhibitions, in Melbourne and Brisbane. Warren was suddenly popular in the art scene, but his period of celebrity was brief, and by 1974 the interest had waned. Until a retrospective at the Bathurst Regional Gallery in February 2014, he had been all but forgotten by the public and the art world alike. Undeterred by the drop in interest, Warren set up his own gallery in a rough tin-shed on Trunkey Creek’s main street. The foray into selling his own work was not particularly successful: he sold some paintings to passing travellers, but soon left the gallery to be run by Alma.
below: Mother and Child, 1970, acrylic on cardboard, 12 x 10 ins. / 30 x 26 cm
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THE TEMPLES OF BEST David Bestâ€™s intricate wooden Temples, a feature of the Burning Man festival, have moved further afield to honour grief and joy
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By NUALA ERNEST
ven as a child, David Best wanted to be an artist like his father before him. He first became involved with alternative expression when he produced his first art car in 1959 – a pick-up truck, which was soon followed by a highly decorated 1960s Ford Falcon and an early version of the famous Fruitmobile. He was an early participant in the Houston Art Car Parade and has produced 34 art cars so far, as well as designing Houston’s dedicated Art Car Museum. Best, however, is renowned for his series of specially built Temples at Burning Man, the annual, weeklong, desert festival extravaganza held in Nevada. The origins of this particular creative impulse go back to 2000, when Best built a
above Temple of Juno Burning Man 2012 photo by Scott London right Temple of Forgiveness by David Best, Tim Dawson and the Temple Crew, Burning Man 2007 previous page Temple of Grace Burning Man 2014 photo by Zipporah Lomax
shrine-tribute at Burning Man to a dear friend he had recently lost in a motorcycle accident. The first creation happened naturally and organically, with Best and his friends assembling as a shrine to their lost comrade. The organisers of Burning Man asked him to return the following year, and Best’s huge Temple of Tears was built, dedicated to people who had died from suicide. His Temple of Joy the following year involved seven 40-foot trailers filled with timber and materials – everything needed for the construction has to be transported to Black Rock Desert and no waste or trace can remain. While Best has some plan of what he may construct, the creations tend to be 90 per cent intuitive and ten per cent planned in advance. Over 100 people worked with Best on the construction of the temple, over three
CARVING HIS OWN PATH Sculptor Jerry Torre, the “marble faun” of Grey Gardens, has lived up to his moniker while remaining true to his humble love of stone By EDWARD M. GÓMEZ
t was a summer day in 1972 in East Hampton, when Jerry Torre saw an elegant woman in big, dark sunglasses and a headscarf making her way towards him. He was 16 years old and employed as a gardener and maintenance man on the grounds of J. Paul Getty’s mansion, and he watched as the woman walked along the narrow path that led to the entrance of the neighbouring property, Grey Gardens, whose owners he also assisted. The visitor, it turned out, was Jacqueline Bouvier Kennedy Onassis, the former American First Lady and widow of President John F. Kennedy, who was now married to the Greek shipping magnate Aristotle Onassis. At the time, Getty was one of the richest men in the world, and there in East Hampton, on the far east end of Long Island to the east of New York City, young Jerry found himself surrounded by wealth and those who enjoyed its privileges. How he came to find himself in such circumstances and, in time, how he started to make hand-carved stone sculptures, which only very recently have begun to attract the New York art world’s attention, are parts of one of the most unlikely personal stories ever to have surfaced in the world of self-taught artists. Gerard Joseph Torre was born to Italian-American parents in Brooklyn in 1953. In a recent interview at his home in the Queens section of New York, he recalled visiting the 1964/1965 New York World’s Fair, where, in the Vatican City’s pavilion, he saw Michelangelo’s Pietà. The sculpture of the grieving Virgin Mary, holding her
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opposite Howler, 2007 cranberry alabaster, 20 x 5 x 6 ins. / 50.8 x 12.7 x 15.2 cm
above Racer, 2010 Carrara marble 8 x 23 x 9 ins. / 20.3 x 58.4 x 22.9 cm
photos courtesy Jackie Klempay Gallery, 2015
right Prospect, 2009 alabaster and salvaged barbells 18 x 14 x 10 ins. / 45.7 x 35.6 x 25.4 cm
crucified son, which a 24-year-old Michelangelo had produced at the end of the fifteenth century, was displayed behind bulletproof Plexiglas. Torre said, “I was deeply moved by what this extraordinarily talented sculptor had brought forth from a piece of stone.” A few years later, mainly to escape a father he described as “very tough, even abusive”, Torre moved to a town on Long Island, where his uncle was building himself a house. Torre said, “I was close to this uncle, who helped me in many ways. To construct his house, he used old cobblestones that had been dug up from Brooklyn streets that were being repaved. Cleaning them and learning how to use them to erect walls – all of that was
part of my first encounter with stone. My uncle was a skilled mason.” That same uncle gave young Jerry a tip that led to his employment as the mercurial (and, reputedly, miserly) Getty’s handyman out in East Hampton. Torre recalled that his boss, whose fortune had come from oil and who reportedly had once quipped, “The meek shall inherit the earth but not its mineral rights”, insisted that Jerry remain out of sight. Torre said, “How was I supposed to cut the grass or trim the hedges without being visible? I was fired RAW VISION 87
THE LABYRINTH EXPLORER Jean-Pierre Nadau’s huge, precise ink drawings pull you into his world
By CHRISTIAN NOORBERGEN Translation by Denis Rothman
left New-York n’existe pas [New York Does Not Exist] (detail) 2008 Indian ink on canvas 4 ft 11 x 19 ft 8.8 / 1.5 x 6 m above opposite Jean-Pierre Nadau and Chomo with Nadau’s first canvas, at the Village d’art préludien [the Village of Préludien Art], Achères-la-Forêt, France, photo by Clovis Prévost 48
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ean-Pierre Nadau was born on May 9, 1963, in the Paris suburb of Melun. He grew up and graduated from high school in Vert-Saint-Denis, north-central France, where his father was the manager of a precision-tool manufacturing company. As a teenager, Nadau’s passion for music led to a deep, rich and eclectic interest in contemporary creative trends. His curiosity extended to film and theatre culture, and he wanted to become an actor. He went on to study at director-actor Charles Dullin’s Ecole de Théâtre in Paris for three years in 1982, intending to go into theatre and writing; at this time, there was no indication of his future as a painter. In 1984, Nadau had a revelatory encounter with Roger “Chomo” Chomeaux (1907–1999), the hermitartist of the forest of Fontainbleau near Paris. Suddenly, in 1986, Nadau stopped acting so that he could work with Chomo in the forest. Later, in 1988, Nadau began to draw – partly inspired by the works of Augustin Lesage (1876–1954). Nadau drew many small-format, black-andwhite works before starting to paint on a huge scale (up to 36 feet / 11 metres) on paper or canvas. Having lived off-and-on with his parents during his youth while holding various odd jobs, Nadau moved to Reims, the capital of Champagne, north-east France, for several years before settling in a chalet in Morillon, Haute Savoie, in the French Alps. He continues to live and create
there – heights inspire him, as does being close to the sky. Nadau’s works have been shown in over 150 solo and collective exhibitions across France and Europe, as well as in the United States, Canada, Japan and Australia. His works are also held in the Collection de l’Art Brut, Lausanne. Nadau’s compositions are filled with fantastical architectural structures, wacky stories and tragicomedies, all with an underlying ribaldry. Among the themes that drive him are horse or bicycle races, and French gardens: it seems that there must be movement and growth, or else there would be stagnation. Of his technique, Nadau says, “I drew with a SergentMajor pen nib and India Ink. I discovered a world I never imagined before. And for the past 25 years, I have worked obsessively, slightly organising more or less simple geometrical forms, drawn in a small scale and then transposed into a larger scale. I let myself go into the burlesque side of the impossible things that go on between the characters. In a happy frenzy, I let everything go by, unconstrained. I don’t try other techniques, having no project in that direction. My own technique is enough. I have preferences such as geographical maps. I invent imaginary writings, with small characters, drawn in linelike pictograms.” When Nadau first started making his drawings, there was the beginning. Then came his personal “Big Bang” – a RAW VISION 87
Cuatro Mundos (Four Worlds), 2010, acrylic on canvas, 56.3 x 54.7 ins. / 143 x 139 cm
AMAZONIAN VISIONS In the Peruvian rainforest, Filder Agustín Peña fuses traditional and contemporary tribal influences in his paintings
nterest in “ethnic”, Native American, shamanic, visionary figuration in art and tourist markets has been growing. A hybrid expression, it combines figurative Western art, indigenous art and “vegetalist” shamanism, which is based on the ritualistic use of various “power” and “master” plants, such as tobacco and the psychedelics peyote, ayahuasca and toé. These are entheogenic hallucinogens which are used in spiritual, shamanic or religious contexts. The precursor of the creative movement was Pablo
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Amaringo (1938–2009), an acclaimed Peruvian mestizo artist and connoisseur of shamanic traditions specific to indigenous and mestizo populations from the banks of the Ucayali River in Arequipa, Peru. Through collaboration with the anthropologist Luis Eduardo Luna, he founded the specialised Amazonian school of painting Usko-Ayar (“Spiritual Prince”) in Pucallpa, deep in the heart of the Peruvian Amazon. While some concepts and techniques of academic art are incorporated, Usko-Ayar is deeply bound to the
Mi Espacio Sidéral (My Outer Space), 2010, acrylic on canvas, 57 x 50.4 ins. / 145 x 128 cm
By DORIANE SLAGHENAUFFI and FREDERIC SAUMADE spiritual experiences from hallucinogenic plants. The artist reproduces the visions from dreams considered a fundamental source of knowledge in all shamanic cultures. Traditionally, the artist realises his or her paintings during ceremonies where (s)he paints traditional kené geometrical forms on the participants’ faces – the quintessential Shipibo aesthetic form and an identity marker. The ritual, art (as a creation of virtual and physical images) and shamanism are “mediation techniques” that depict a reality the naked eye cannot perceive. This is the source of inspiration for Filder Agustín Peña, a shaman/healer from the Shipibo tribe, whose works reflect the fundamental aspects of an ancestral
cultural universe. Peña’s work revolves around an “astral journey” undertaken during shamanic sessions that are punctuated by encounters with spiritual entities in woodland, celestial and aquatic areas, which both animate the Shipibo mythology and partner the shaman during their sessions. Amid the paintings’ protagonists one can find Ronin the anaconda, “the Mother of Waters” (“mother”, ibo, refers to the “boss”, “master” or “owner”, as well as “the principle of life”) and mistress of all aquatic animals; Ino, the jaguar and wildlife custodian; Bari, the sun, who is protective and paternal towards humans; Oshe, the moon, an incestuous brother who became a celestial body; Jenen Yoshin, “the spirit of the waters”, RAW VISION 87
Klaus Mücke, Atelierplatz, Kunsthaus Kannen, 2015 photo by Ralf Emmerich
KUNSTHAUS KANNEN, GERMANY
n soothing, rural grounds, a few miles southwest of Münster, western Germany, is a psychiatric and psychotherapeutic hospital that contains the buildings of the Kunsthaus Kannen studios, gallery and workshop. Since 1887, the hospital has been owned by the Alexian Brothers – an apostolic Catholic Order whose Brothers undertake vows and dedicate themselves to care for “the sick, the aged, the unloved, the unwanted, the poor, and the dying”. The practising of these vows has led to the specialisation of the hospital in the treatment of and therapies for people with mental illness and intellectual disabilities. When long-term patients of the hospital started spontaneously creating art, staff encouraged the artmaking, as has been seen in many hospitals in the twentieth century. Since the early 1980s, the staff have supported and promoted this creativity, going on to develop the studio and gallery spaces. By October 2000, this embracing of art and expression had led to a national acknowledgement from the German government: the official recognition of “Model Project Community for Handicapped Artists”. With the ongoing financial support of the Alexian
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Brothers and the regional Welfare Trust of NRW, Kunsthaus Kannen has continued to flourish. People from the hospital community with psychiatric illnesses and special learning needs have access to 15 spaces across three studios for painting and drawing, covering 620 square metres. In the studios, they can express themselves artistically and further their own development with the support and supervision of trained art therapists. There is also the opportunity to meet and work with artists from other studios in workshops, to enhance their own experience and expand their personal horizons. An art archive in the grounds provides space for the workshops, as well as for project work, conferences and lectures on art and psychiatry, Outsider Art and art brut. Adjoining the studios and workshops is the gallery, with often-changed displays that are based on the Kunsthaus Kannen collection, which now amounts to over 5000 artworks gathered over the past 30 years, including sculptures, paintings and drawings. Exhibitions from the collection have been held throughout Germany, as well as overseas. Apart from being a central meeting point for disabled and able-bodied artists, the gallery is open to anyone interested in viewing the studios and
above: Stefan Tiersch, Ein Einsamer, 2015, acrylic on paper, 33 x 47.2 ins. / 84 x 120 cm right: Stephan Meischner, Untitled, 2015, ink on paper, 8.3 x11.4 ins. / 21 x 29 cm below: Helmut Feder, Couple,1984, pencil on paper, 11.8 x 15.7 ins. / 30 x 40 cm
exhibitions, and the specialist library and art shop. For the past few years, an international, weekend-long forum on Outsider Art has been held. It is an inclusive and celebratory affair with discussions about the history and current position of Outsider Art in psychiatric and artistic contexts, and past speakers have included Thomas Roeske of Prinzhorn Collection and Sarah Lombardi of the Collection de l’Art Brut, Lausanne (see RV #80 for a review of the 2013 “2x2 Forum”). During the forum, international studio galleries exhibit alongside local artists and artists of Kunsthaus Kannen. Nuala Ernest Kunsthaus Kannen, Kappenberger Damm / Alexanierweg 9, D-48163 Münster, Westphalia, Germany. The 2x2 Forum for Outsider Art takes place biennially on 1–4 October. www.kunsthaus-kannen.de RAW VISION 87
Richard Dadd (detail) at Watts Gallery-Artists’ Village
THE ART OF BEDLAM: RICHARD DADD The Watts Gallery-Artists’ Village, Compton, Surrey, UK until November 1 Richard Dadd (1817–1886) may have never been considered an outsider had he not lost his mind somewhere in the Middle East during a sojourn in the 1840s. A celebrated student of the Royal Academy, Dadd began his artistic career as a young and promising painter gathering plaudits from high society. After experiencing severe mental illness Dadd became better known as an artist from the asylum. The first “painter patient” with the wild-eyes and heavy beard, seated at an easel during his 20 years’ incarceration in the Bethlem Royal Hospital (aka Bedlem), and later in Broadmoor asylum for the criminally insane as depicted in Hering’s portrait photograph (c. 1875). This small but beautifully formed exhibition, curated by Dr Nick Tromans, a renowned authority on Dadd, casts a considered eye over the artist’s life and outputs. It provides a refreshing perspective on Dadd’s life outside and within asylums, the latter in which Dadd’s greatest work was 66
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probably created. Imagine the reaction of Dadd’s keepers to his wondrous and mystical outpourings, which continued until his death at Broadmoor aged 68. The work on show at Watts is undeniably beautiful, yet it depicts a world where all is not as it seems. Lesser known works included here provide clues to his destiny. In The Artist’s Halt in the Desert (c. 1845) we glimpse Dadd’s supernatural vision as the moon appears on a lance over a deep blue desert sky, flames lighting up the faces of the nomads (Dadd included) gathering by the fire. This could be read as a foreboding of Dadd's loosening grip on reality. The eerie Port Stragglin (1861) depicts a fantastical imagined place, as Dadd recounted “not sketched from nature”. In it an oversized cliff as if from a fairy tale looms over an ancient ship in port, all hovering in nothingness. His unfinished masterpiece The Fairy Feller’s Masterstroke (c. 1855–1864) demands attention, the intricacy making one’s eyes dance around the canvas. By turns humorous, devilish and divine, it staggers in its
minute poetic detail, revealing more and more curious characters with scrutiny. The Portrait of a Young Man (1853) is strangely compelling. The dapper and impassive young man featured is thought to be Dadd’s physician Dr Charles Hood. He is seated in the non-existent “pleasure garden” of Bedlam, where he gazes benevolently (or possibly malevolently) at the viewer. The seemingly innocuous portrait unnerves with its odd detail: Hood’s beauteous features, a crumpled shirt, neckerchief tied loosely round his neck on a curiously formed bench of branches. One wonders at Dadd’s intention as the golden-haired doctor appears overshadowed by comical gigantic leaves behind him, a fez at his side, and a grass roller in the background. Bedlam may truly have been a place of tragi-comic asylum. Finally a word on the venue. If fairies exist Watts Gallery-Artists’ Village is surely a place they would choose to live. Like a location from a child’s story book, the picturesque Arts and Crafts building lies nestled in woods, down a winding country lane a few miles outside Guildford. The place is enchanting and worthy of many a pleasurable day trip. Victoria Tischler
INWARD ADORINGS OF THE MIND Bennington Museum, 75 Main Street, Bennington, VT 05201-2855 Until November 1, 2015 Currently at the Bennington Museum, “Inward Adorings of the Mind” reaches across labels and categories to initiate, in the words of the exhibition’s curator Jamie Franklin, “thematic dialogues amongst extraordinary artworks created by ... individuals with little or no formal training ... and working outside the framework of the traditional art market.” Established grassroots-artists Joseph Yoakum, Mose Tolliver, Jesse Howard, Inez Nathaniel Walker and Anna Mary Robertson “Grandma” Moses are displayed in tandem with more recently recognised “outsiders” such as Gayleen Aiken, Jessica Park, Larry Bissonnette, Paul Humphrey, and Ray Materson. The work of these artists is interspersed with more traditional folk art: portraits by Erastus Salisbury Field and Ammi Phillips; samplers by Martha Hawkins and Caroline Love; three-dimensional objects such as furniture, grave markers, wood carvings, face jugs and whimsically fashioned canes. The more-than-150 pieces are displayed in four thematic clusters that interact across time, vary in style and intention, but find a collective voice under headings of History, Memory and Memorials; Signs and Symbols/Words and Images; Faces: Fact and Fiction; and Everyday Beauty: Whimsy and Utility. The section on History, Memory and Memorials juxtaposes Bennington
RAWREVIEWS history paintings by Grandma Moses with traditional mourning pictures, a sampler depicting family history, Joseph Yoakum’s memory landscapes and a house rendered by Gayleen Aiken filled with recollections of family life. Stephen Warren’s imposing Memory Ware Tower is an especially powerful statement – its multitude of inlaid memorabilia, spiralling upward, suggest a classical victory column. What these varied artistic descriptions of the past might or might not be telling us is suggested by Emily Dickinson’s words, which introduce the display: “But are not all facts dreams as soon as we put them behind us.” The viewer is invited to observe, enjoy and ponder. Bennington Museum Director, Dr Robert Wolterstorff, calls such juxtapositions “creative collisions” that provide new ways to encounter art. Reintroduced in different configurations, objects rub together, sparks fly “that inspire new creativity, ignite new invention.” According to Wolterstorff, this “mashup is the quintessential new art form of our age” – exciting, unpredictable and enticingly different. In the words of Walt Whitman, which provide the show’s preamble: “I reject none, accept all, then reproduce all in my own forms.” For “Inward Adorings” the museum has partnered with artists/collectors Gregg Blasdel and Jennifer Koch. Their rich and varied collections of grassroots art seamlessly complement the museum’s traditional folk pieces and more recent acquisitions of works by Outsider and selftaught artists. Tony Gengarelly
Stephen C. Warren (above right), Jesse Howard (below) and Dwight Yoakum (below right) at Bennington Museum
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EXHIBITION & CONFERENCE
Shinua Fujii at Pallant House Gallery
Roger Cardinal with delegates at Bentivegna’s Enchanted Castle, photo by Sophie Lepetit
SHINYA FUJII Outsider Art from Japan Julian Hartnoll Gallery, 37 Duke Street St James’, London September 4–13 Outside In and the Julian Hartnoll Gallery recently presented visitors with the first opportunity outside of Japan to view the intricate, tropical-inspired ink drawings of Shinya Fujii, a newlydiscovered artist from northern Japan. Born in 1969, Fujii started to draw in 2007 after his father died. Listening to folk music while he works, Fujii’s marks on paper are inspired by what he hears as well as by his particular fascination with Bali, as well as Buddhism, robots and insects. Taking up to 3 months to create each piece, his entire collection of 32 drawings was shown in this exhibition and seeing them together highlighted the themes in and progression of his work. Fantastical spaceships rose from the heads of figures as plumes of woven, curled “music waves” are trumpeted out of their mouths (Fujii weaves together figures, symbols and patterns in simple fluid lines that he has described as waves of music). Some of the drawings are densely-worked, with decorative borders reminiscent of Art Deco or Japanese textiles, while others float in space. Many different textures emerge from his patterns: feathers, hair, scales, mosaics and fabric prints. All are thought-provoking and elegant, and obviously made a big impact on the viewers as half of the show was sold on the first day. Nuala Ernest 68
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HETEROTOPIAS: OUTSIDER ENVIRONMENTS IN EUROPE International conference Palermo and Messina, Sicily May 28 – June 1 2015 A highly imaginative conference recently took place in Sicily, jointly organised by the fast developing Osservatorio Outsider Art (a scholarly project of Palermo University) and the European Outsider Art Association. e event attracted international experts keen to share information about art environments, not least those of Sicilian irregolari. anks to group excursions, the usual provision of slides was complemented by material encounters at select local sites. Foremost of these was the Enchanted Castle of Filippo Bentivegna (1888–1967), author of an amazing array of carved stone heads, laid out over a hillside near Sciacca. is indomitable artist had known fame in his native region before his death and today’s site endures, staggering in its scale and atmosphere. (See Raw Vision #22.) A speedy coach journey relocated the conference to the island’s second major city, Messina, to examine a very diﬀerent site, for the cabin and ornamented patio built on an industrial street near the harbour by one Giovanni Cammarata (1915–2002) have long since lost their sheen, if not their very soul. irteen years have passed since this artist died, time enough for his
marvellous creation to moulder into a sad and naked shell. In keeping with the conference ethos of protecting such exceptional structures, some visitors (notably architects) felt that restoration was still an option, while others concluded that deterioration had gone too far, leaving little more than an eloquent ruin. Yet other places sharpened the collective awareness of the need for preservation and renovation. One dedicated group clambered up a mountain above Palermo to inspect Isravele’s Sanctuary, a site of undoubted spiritual lustre; while strollers around the back-streets of the seaside town of Castellamare tracked down the bright graﬃti of Giovanni Bosco (1948–2009). A few visitors made a detour to Bagheria and saw a famed eighteenth-century folly, the Villa Palagonia, a structure masterminded by a capricious duke who deputed a team of sculptors to produce stone creatures in the shape of jigging musicians, human-headed animals, and other grotesques. ese cavort atop the curving walls that embrace the site and its garden of roses and cacti; while the villa itself, now stripped, secretes a few manneristic mosaics and coloured flagstones. e empty ballroom is a particular marvel. e lucky visitors found their initial curiosity giving way to admiration and a sense of wonder – rare responses at academic occasions of this kind. Roger Cardinal
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
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
21 Ben Wilson, Inner Architecture, Fasanella, Phase 2, Fryar, Gordon’s Patio
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
29 Mary Proctor, Carlo Zinelli, Dernier Cri, Art Brut, Jersey Shell Garden
Picassiette, Benefiel, Vodou, Dellscahu, Mediumistic, Van Genk
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
Darger, R/stone Cowboy, Thévoz: Chiaroscuro, Pearl Blauvelt, Bressse
Theo, Jane-in-Vain, Janet Sobel, Lanning Garden
William Hawkins, Expressionism and Insanity, Giovanni Battista Podesta
Burning Man, Matsumoto, Nicholas Herrera, William Fields
67 Renaldo Kuhler, Sonabai, Outsider Films, Giov Bosco, Finster/Ginsberg
Finnish Outsiders, Sylvain Fusco, Roy Ferdinand
Hung Tung, Photography, Bernard Schatz, Jessie Montes
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
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
Martin Ramirez, Bruce New, Stephanie Lucas, Ellen Greene, Art in Houston
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
28 Y5/P5, Chomo, Arning, Leonov, Kaiser, The Tarot Garden, Gene Merritt
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
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
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
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
42 Boix-Vives, Fred Smith, Rosa Zharkikh, Donald Mitchell
53 Toraja Death Figures, Chauvin Sculptures Josef Wittlich, Nigerian Sculpture
Philly/K8, Sefolosha, Palmer, Belardinelli, Ludwiczac, Oscar’s sketchbook
Masao Obata, Takeshi Shuji, Henriette Zéphir, John Toney, Edward Adamson
Dalton Ghetti, Art & Disability, Danielle Jacqui, Andrei Palmer, Mingering Mike
Henry Darger, Peter Kapeller, Nadia Thornton Dial, Belykh
August Walla, Adolf Wölfli, Antoni Gaudi, Tim Wehrle, Frank Walter, Art & Therapy
84 Julian Martin, Ronald Lockett, Solange Knopf, Larry Lewis, Emma Hauck
Maura Holden, Clarence Schmidt R.A. Miller, Hans Krüsi, Silvio Barile
Speller, Norbert Kox, Haiti street art BF Perkins Damian Michaels
Dernier Cri, Rei Kawakubo, Bonifacio, Blackstock, St. EOM, Porret-Forel
Thornton Dial, Richard Greaves, Martha Grunenwaldt
Bill Traylor, Art Brut Today, Meta Doodles, Billy Tripp, Gugging, Zoran Tanasic
85 Nek Chand, Johann Fischer, Judith Scott, George Ehling, Spanish Environments
76 CJ Pyle, Aloïse Corbaz, Mr Imagination, John Danczyszak
86 Howard Finster, Gerard Sendrey, Aleister Crowley, Dominic Espinoza
International journal of outsider art, folk art, visionary art and art brut.