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RV 73 FALL/AUTUMN 2011 $14.00 • £8.00 • € 15.00


4 RAW NEWS

RV73

Outsider events and exhibitions around the world

FALL/AUTUMN 2011

12

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

Advertising Manager Charlie Payne tel 717 666 3200 fax 717 689 4566 cell 717 572 2175 email adsalespro@comcast.net

Published by Raw Vision Ltd PO Box 44, Watford WD25 8LN, UK tel +44 (0)1923 853175 email info@rawvision.com website www.rawvision.com

44 IMAGINARY POP SUPERSTAR Tom Patterson reviews the lost-and-found homemade record cover art of Mingering Mike

US Office 163 Amsterdam Ave, #203, New York, NY 10023–5001 (standard envelopes only) Bureau Français 37 Rue de Gergovie, 75014 Paris tel +33 (0) 1 40 44 96 46

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50

FLOWERINGS OF FOLKLORE Sara Ugolini introduces the spontaneous Italian artist Maria Concetta Cassarà

Facebook: http:/www.facebook.com/pages/Watford–United–Kingdom/ Raw–Vision–Magazine/59596534701?ref=ts ISSN 0955-1182

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

RAW VISION cannot be held responsible for the return of unsolicited material

57

REVIEWS Exhibitions and books


RAWNEWS EYES AT PRINZHORN

SCHLIMM SHOWS AT GAIA

25 YEARS OF GUGGING

MAD MUSÉE

Berthold L.

September 15 – October 30, 2011 Drawings by Yuglospav artists Vladimir Velickovic and Miodrag Djuric (‘Dado’), from a 60 to 80 year period. Haus der Kunstler Doreen McPherson Galerie Samantha Sellem, 5 Rue Jacques Callot, 75006 Paris, France. t: +33 (0)1 56 24 34 74 www.galeriesellem.com September 10 – November 19, 2011 Every September, the gallery presents its latest discoveries and acquisitions. Among the artists on display are; Anibal Brizu ela and Rosa Cazhur (Argentina), Carlo Stella (Peru) or Albert Mouhadeb (Israel). The exhibition also includes Peter Kapeller (Austria), Melvin Way (USA), and Eric Benetto and Loïc Lucas (France). September 17 – 24, 2011: As well as the gallery inauguration, Travelling brut, a festival of documentaries on and about art brut, is taking place with works that Pietro Ghizzardi (1906–1986) has produced using singular materials such as herbs, wine, blood, berry juce and soot to create exuberant portraits of women, saints and animals. No less than 20 pieces, mainly double-sided, from the late 1950s to the late 1960s will be shown. Galerie Christian Berst, 3–5 Passage des Gravilliers, 75003 Paris, France. t: +33 (0)1 53 33 01 70 www.christianberst.com

CHRISTIAN BERST

Dado

Anibal Brizuela

GALERIE HAMER

Michel Delannoy

VELICKOVIC & DADO

Thomas Schlimm

November 8, 2011 – March 10, 2012 In Circus, the 70-cm-high and up to 5-metre-wide circus-friezes by Thomas Schlimm with motorcycle acrobats and clowns, crowded together with trained animals, execute the thrilling dramas of the carnival in these oil pastel Until September 30, 2011 The Cabinet exhibition: Eyes – a view sequences. GAIA Museum of Outsider Art, Lene Bredahls Gade 10, 8900 Randers C, Denmark. t: +45 (0)89 15 83 38 into the Prinzhorn Collection has www.gaiamuseum.dk been extended. Many different eyes confront the visitor: Orwellian, allseeing eyes; herds of eyes, swarming out together; eye architecture; or alien-like independent eyes. The collected orbs assess the viewer, take him into their sights and monitor the room. September 10 – November 6, 2011: The Prinzhorn Collection shows Roger Ballen. Museum Sammlung Prinzhorn, Voßstraße 2, 69115 Heidelberg, Until September 10, 2011 October 15 – November 15, 2011 Germany. t: +49 (0)6221 564 725 Harvest is being shown at the Mad Michel Delannoy presents a collection www.prinzhorn.uni-hd.de Musée and Le Grand Curtius, and of paintings dedicated to European June 22, 2011 – March 4, 2012 An exhibition celebrates the success explores how the future of the countries, summing up all the famous collection is emerging through its new landmarks.. of the Gugging artists. Galerie Hamer, Leliegracht 38, 1015 Until October 2, 2012: Viva la France acquisitions.. displays the work of a number of MadMusée, Parc d’Avroy, 4000 Liège, DH Amsterdam, Netherlands. t: +31 (0)20 626 7394 French artists Belgium. t: +32 (0)4 222 32 95, Haus der Kunstler, Am Campus 3, www.madmusee.be www.galeriehamer.nl Le Grand Curtius, Feronstrée, 136, 3400 Maria Gugging, Austria. t: +43 (0)676 84 11 81 206 4000 Liège, Belgium. www.gugging.org t: +32 (0)4 221 68 17/8


ART & DISABILITY With the opening of the Museum of Everything’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 Britain’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. 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 Michèle 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

www.organugamme.org

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

appear.

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 


Wooded microcosms inhabited by men and animals the living room where she sat at a table in front of the or characters dominating a stage-like space are the

television set.

oeuvre of Maria Concetta Cassarà’s paintings. The artist

Glancing at programmes, Maria Concetta did

lives in a working-class quarter of Bologna, in north-

not neglect the practice of drawing, although in truth only

central Italy. After a life as a housewife, finding her

her images of women testify to the context of action.

children grown and therefore having more free time for

Often they represent figures dressed in fine evening

herself, Cassarà engaged in various activities, first

clothes and exclusive accessories which, typical of the

above All works are Untitled, 50 x 35 cm, 19.7 x 13.8 ins.

working in a pastry shop and then later on as a

television presenter’s greeting, emerge to assume a

dressmaker. About 10 years ago, already in her sixties,

frontal, central pose. Due to the speed with which

centre Maria Concetta Cassarà at home, 2011, photo: Matteo Cuccodrillo.

she began painting by chance after watching her

television personalities habitually move, appearing and

opposite Untitled, 70 x 50 cm, 27.5 x 19.7 ins.

granddaughter while she drew. From that moment on

then disappearing from the screen, Maria Concetta says

Cassarà dedicated almost every evening, sometimes well

that she is forced to complete such figures with details

into the late hours, to creative accomplishment, wheeling

of her own imagining. As for the rest, a rural topography

a trolley full of sheets of paper, brushes and tempera into

prevails in her representations; there are hills, valleys,


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43 Thornton Dial, Richard Greaves, M Grunenwaldt, Jane Kallir on Outsider Art.

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Masao Obata, Takeshi Shuji, Henriette Zéphir, John Toney, Edward Adamson, Larry Williams


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