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RV 73 FALL/AUTUMN 2011 $14.00 • £8.00 • € 15.00
4 RAW NEWS
Outsider events and exhibitions around the world
ART & DISABILITY Sue Steward traces the development and impact of special workshops and studios
WORLD’S BEST ART MAGAZINE
MEDAILLE DE LA VILLE DE PARIS
28 MINIATURE MASTERPIECES UTNE INDEPENDENT PRESS AWARD
Gary Santaniello introduces the obsessive detail of Dalton Ghetti
AMERICAN FOLK ART MUSEUM VISIONARY AWARD
Editor John Maizels Directors Henry Boxer, Sam Farber, Robert Greenberg, Audrey Heckler, Rebecca Hoffberger, Bill Hopkins, Phyllis Kind, Frank Maresca, Richard Rosenthal, Bob Roth
32 DANIELLE JACQUI
Art Editor Maggie Jones Maizels Senior Editor Julia Elmore Editorial Assistant Nuala Ernest Production Assistant Lauren Woods Managing Editor Carla Goldby Solomon Sub Editor Helen Banks Accounts Manager Judith Edwards Subscriptions Manager Suzy Daniels US Assistant Ari Huff French Editor Laurent Danchin Contributing Editors Michael Bonesteel, Jenifer P. Borum, Roger Cardinal, Ted Degener, Edward Madrid Gomez, Jo Farb Hernandez, Tom Patterson, Charles Russell
Michèle Perez brings us up to date with the phenomenal artist singulier from France
40 ANDREI’S AUTOMOBILES D.B Denholtz introduces the working models of Andrei Palmer
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44 IMAGINARY POP SUPERSTAR Tom Patterson reviews the lost-and-found homemade record cover art of Mingering Mike
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FLOWERINGS OF FOLKLORE Sara Ugolini introduces the spontaneous Italian artist Maria Concetta Cassarà
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cover image William Scott, Relationship, 2010, courtesy of Creative Growth Art Center, USA Raw Vision published quarterly by Raw Vision Ltd #73 Fall/Autumn 2011. Printed in EU. Subscription Price $49 USPS No. 017-057 Periodicals Postage Paid at Rahway, NJ, and at Emigsville, PA Distributed by Priority Post, 95 Aberdeen Road, Emigsville, PA 17318–0437 Subscription office: 163 Amsterdam Ave. #203, New York, NY 10028. (Standard envelopes only) Postmaster send address corrections to: Raw Vision, c/o Mercury Airfreight International Ltd, 365 Blair Road, Avenel, NJ 07001
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REVIEWS Exhibitions and books
RAWNEWS MUSEUM OF EVERYTHING
September 2 – October 25, 2011 Exhibition #4 will be Britain’s first international showcase of artists with developmental disabilities. The creative work of 50 artists will be on display, with art ranging from intimate works on paper to giant three-dimensional creations. The museum will curate all of the Selfridges’ store-front windows along Oxford Street and Orchard Street, as well as their entire exhibition hall space. At the same time, an initiative will be launched called The Workshops of Everything. Its aim is to create studio space for artists with disabilities across the whole of Britain. Other events include talks, screenings and debates. Museum of Everything, Selfridges & Co., 400 Oxford Street, London W1A 1AB, UK. t: +44 (0)20 7957 5325 www.musevery.com
September 1–3, 2011 Eternal Maternal marks the 30th anniversary of Bethlem Royal Hospital’s Perinatal Unit with artwork by Bethlem artists and patients. October 6 – November 4, 2011: Unescorted #3 presents artwork and music by current patients from River House, Bridge House and Bethlem’s Forensic Adolescent Unit. November 10 – December 2, 2011: One of Many will show work by Kim Noble, an artist who lives with Dissociative Identity Disorder. Artwork featured has been produced by several of her different personalities. The Bethlem Gallery, Bethlem Royal Hospital, Monks Orchard Road, Beckenham, Kent BR3 3BX, UK. t: +44 (0)203 228 4101 www.bethlemgallery.com Maureen Scott
November 5–26, 2011 In Painted Tales, self-taught artist Sue Prince makes connections between people and environment through pictures and storytelling. Gallery at 12, No. 12 High Street, Eccleshall, Staffordshire ST21 6BZ, UK. t: +44 (0)1785 850 757 www.galleryat12.co.uk www.beechenhill.co.uk
STAFFS GALLERY ALBERT LOUDEN October 6–10, 2011 Art London includes works by celebrated British outsider artist Albert Louden whose exhibtion follows at Whitford Fine Art (Oct 1121). Art London, London Gate, Royal Hospital Road, Chelsea, London SW3, UK. Whitford Fine Art, 6 Duke Street, St. James’s, London SW1Y 6BN. artlondon.net whitfordfineart.com
November 5–19, 2011 In AJ Tracy’s Sugar Sachets, Alex Tracy produces miniatures in acrylic on discarded wrappers and cartons, coupling the intricacy of his image with the technical merits of industrial packaging. OPEN Ealing, 113 Uxbridge Road, Ealing, London W5 5TL, UK. t: +44 (0)208 579 5558 www.openealing.com
September 27 – November 20, 2011 The Pastel drawings of Ben Wilson will be on display Upstairs at The Nellie Dean of Soho, expect a riot of colour and an exploration of the glories of nature. Upstairs at The Nellie Dean of Soho, 89 Dean Street, London, W1D 3SU, UK. t: +44 (0)7761 733683 www.DiscoverOutsiderArt.com
ART & DISABILITY With the opening of the Museum of Everythingâ€™s London exhibition, featuring the work of artists with disabilities, Sue Steward traces the development and impact of special workshops and studios.
The Museum of Everything is launching Britainâ€™s first major
laboration in the history of the store.
survey of art from progressive studios and workshops for
Museum of Everything founder, James Brett, sug-
self-taught artists with developmental and other disabili-
gests that art from progressive studios has been under-
ties.Â The exhibition will feature over 200 works from these
appreciated, not only by the art world, but by those within
organisations in one of the most visible locations in Lon-
the field of self-taught art. The reason, he suggests, is a
don: the department store, Selfridges, where the work will
simple misunderstanding of their collaborative nature.
occupy 15,000 square feet and form the largest art col-
Progressive studios, he says, do not teach. They simply
above Thomas Schlimm, Untitled, 2005, oil pastel on paper, 35 x 50 cm, 13.8 x 19.7 ins, Atelier HPCA, Germany. below Thomas Schlimm, Der Mann mit dem Messer, oil pastel on paper, 2005, 70 x 200 cm, 27.5 x 78.7 ins, Atelier HPCA, Germany.
Danielle Jacqui: La Maison de Celle Qui Peint and the Colossal d'Art Brut MichĂ¨le Perez brings us up to date with the phenomenal artist singulier from southern France
above The exterior of Maison de Celle Qui Peint, Danielle Jacqui’s house in Pont-del’Etoile in Provence, France. opposite Window detail. previous page Interior detail.
Danielle Jacqui was born on February 2, 1934, but shown in France, Japan, Switzerland (including at the it could be said that 1970 marked the beginning of a
Collection of Art Brut, Lausanne) and the United States
fresh life for her. It was then that she embarked on a new
(‘Love: Error and Eros’ at the Museum of American
professional adventure as a brocanteur, selling second
Visionary Art, 1998).
hand goods, and a personal artistic pursuit of her highly personal and unusual art.
The 1980s were also an important decade for Jacqui. She met Raymond Reynaud, another artist of
The early 1970s were a founding period for
remarkable talent who became the leading figure in the
Jacqui. She met Claude Leclercq, her second husband,
loose grouping known as artists singuliers, and with the
who became a close companion in her artistic career until
help of Dr Jean-Claude Caire and his wife Simone, who
his death in 2000. A fellow brocanteur and a man with a
published a mass of information about self-taught French
rich personal history, Claude shared with Jacqui, a ‘state
artists in their journal Bulletin d’Ozenda, was able to
of complementarity and mutual enrichment’. The period
befriend and exchange ideas with a network of other
from 1973 onwards marked Jacqui’s participation in the
artists in southern France. The 1980s also saw Jacqui
photos: Bernard Consoloni.
first of what was to become a long line of both group
begin her masterful embroideries, each of which
and solo exhibitions. Since then, her work has been
required three years of work.
Miniature Masterpieces Gary Santaniello introduces the obsessive detail of Dalton Ghetti
above Dalton Ghetti, close up at work.
Dalton Ghetti works in an unconventional medium, of the strain on his eyes, Ghetti requires months, on an almost unimaginable scale. Small wonder, then, that his creations defy easy description.
sometimes even years, to complete individual pieces.
Alphabet, simple block letters atop a line of 26
Ghetti, 50, creates unforgettable works of art
idiosyncratic pencil stubs, took more than 2 years to
on the tips of discarded pencils, some of them stubs,
finish. Chain, 23 independently moving and impossibly
working on a shaft of graphite a mere 2.2 mm in
small links, 5 cm long, connecting the top and bottom of
diameter. Using only a razor blade and a sewing needle,
a pencil, took almost 3 years. The elegant Giraffe, just
with no magnification, he painstakingly sculpts objects
2.5 cm tall, took 18 months.
from everyday life that are simple, clever and imaginative,
As a child in school in his native Brazil, Ghetti
all incredibly small but with exquisite detail and precision.
sharpened his pencils with a razor blade he carried
Working little more than an hour a day because
with him. Soon, using different small tools, he carved
left Key. right Mailbox.
left Heart. right Heart on chain.
Rediscovering an Imaginary Pop Music Superstar Tom Patterson reviews the lost-and-found homemade record-cover art of Mingering Mike
above Some of Mingering Mike’s record labels.
Stories about discoveries of previously unknown related dreams. He lost track of the work years later, bodies of outsider art have become so familiar over the
after being diverted from his creative path, but
last few decades that the pattern is now a regular art-
fortunately – and unlike so many self-taught artists
world paradigm. Were it not for such discoveries, artworks produced by many visually creative individuals who operate outside the art system and do not regard themselves as artists would likely remain forever unknown. That would have almost certainly been the
whose art is belatedly rediscovered – he remained very much alive when an appreciative collector stumbled onto the lost work. The impetus for Mike’s art was his fantasy career as a massively popular singer of soul and funk tunes. As a teenager living in
fate of works by the artist known as Mingering Mike. This
Washington, D.C., in the late 1960s, he began a prolific
urban African-American man was a young amateur singer
songwriting practice that, according to his estimate,
and songwriter when he began making drawings and
eventually yielded more than 4,000 songs in those
related art objects as an outgrowth of his private music-
genres. He tape-recorded himself singing many of them,
sometimes with vocal accompaniment by a male cousin
grooves. He enclosed the discs in the homemade
whom he nicknamed ‘the Big D’. The resultant
sleeves, some of which he even slipped into cellophane
audiotapes consisted of spirited vocals rhythmically
shrink-wrap packaging with affixed price stickers.
underpinned by makeshift percussion. He made no
The self-billing he conceived for most of these
effort to publish his songs or have them
idiosyncratic artworks stemmed from whimsical
commercially released, but he extended his
wordplay in which he fused the terms
superstar fantasy to the packaging of his
‘mingling’ and ‘merging.’ The combination
music, creating hand-drawn, hand-lettered, one-of-a-kind covers and sleeves for the ersatz
above Boogie Down at the White House
yielded the catchy but meaningless gerund ‘mingering,’ hence ‘Mingering Mike’. He envisioned
vinyl records he also made. These ‘records’ consisted of
this alter-ego as such an entertainment success that he
nothing more than cardboard discs with circular, pasted-
was able to sponsor the careers of other musical artists,
on labels containing handwritten song titles surrounded
including his two singing-partner cousins and a host of
by hand-drawn spiral patterns mimicking hair-thin record
non-existant solo singers and singing groups – Audio
’MIKE’S FIGURE DRAWING IS REMINISCENT OF COMICBOOK SUPERHEROES’
Andrei’s Artistic Automobiles D.B. Denholtz introduces the striking models of Andrei Palmer
Andrei Palmer’s funky and audacious scratch-built light up, door handles, hand-sewn fabric interiors – all
‘PALMER PREFERS USING HIS MEMORY TO LOOKING AT PICTURES IN MAGAZINES AND BOOKS’
cars are examples of a unique mind vigorously
built onto a frame made from scrap wood, chicken wire
exercising and rearranging the million details of an
and wooden dowels.
everyday object and reassembling it into something
Their size, at an average of 25 to 36 inches in
wholly its own. An unschooled, untaught thing of
length, is also surprising, because the works have a
beauty – in other words, traditional ‘outsider’ work from
physicality and heft that seem to belie the feeling that
a new generation.
these are fragile cardboard pieces which may come apart
‘Andrei’s Artistic Automobiles’, as he has titled
at the seams at any moment. In fact, when handled, the
his output, are hand-formed from recycled cardboard,
cars are extremely solid – even a little heavier than they
covered in spray-painted glossy poster board and further
detailed with metallic paper that he cuts and shapes to
Andrei Palmer was born in 1987 in Ceausescu’s
look like chrome; with clear plastic for windshields,
Romania and his earliest years, from birth to 6 years,
sometimes vinyl tops, pieces of cut mirror for side- and
were spent in a series of orphanages. Enduring neglect
rear-view mirrors, headlights and brake lights that really
and abuse, the children of such environments are often
Flowerings of Folklore Sara Ugolini introduces spontaneous Italian artist Maria Concetta CassarĂ
her youth there before moving to Bologna. In Mirto, the
undulating way. More than autonomous scenes having
village outside Messina where she comes from – like
their own narrative development, Cassarà’s paintings
everywhere in Sicily – religious rites and beliefs have
contain elements to be admired, especially the trappings
never lacked occasions to openly express themselves.
that exist in the focussing of the observing eye.
They come into contact with all working environments
above All works are Untitled, 50 x 35 cm, 19.7 x 13.8 ins. centre Maria Concetta Cassarà at home, 2011, photo: Matteo Cuccodrillo. opposite Untitled, 70 x 50 cm, 27.5 x 19.7 ins.
It is less of a vocation for storytelling and
from local craftsmanship to the neighbourhood pastry
action that expresses itself in the work of Maria
shop, where, for example, the form of bread known as
Concetta, than an enjoyment of the staging found in, for
varba (Saint Joseph’s beard), with its unusually luxuriant
example, the arrangements of votive altars and surfaces.
locks and full beard, is markedly reminiscent of the male
It is difficult not to think of the customs linked with ritual
visages in Maria Concetta’s paintings.
celebrations in southern Italy, such as the typically
Like sugarcraft figurines or statuettes in a
Sicilian practice of setting up shelved constructions and
manger, the animals painted by Cassarà have rigid limbs
tables for the so called ceni i San Giuseppe (suppers of
and are hoisted onto a pediment. The pedestal is
Saint Joseph). In different regions of Sicily on March 18th,
straight and horizontal, or sometimes curved in an
the eve of the religious festival, numerous families
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