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Showing posts with label Anonymous. Show all posts
Showing posts with label Anonymous. Show all posts
Antique American Folk Art Drawing 19th Century "Meeting of the Old Man and his Grandson" collection Jim Linderman
Anonymous Outsider Art / Art Brut found on the streets of Manhattan
Anonymous Outsider Art / Art Brut found on the streets of Manhattan circa 1985. Now lost. Each was 18 x 24.
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1939 World's Fair Snapshot Photograph Album High Quality Unusual Subjects Vernacular Photography New York City
1939 Photograph Album of the World's Fair Collection Jim Linderman
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The Extraordinary Wood Carvings of Anonymous 1921 Snapshot Collection Jim Linderman
Some serious folk art wood carving by Anonymous, who was so good he even had his own special "wood carving coveralls" for when the chips began to fly! Too bad there is no identification on the photo reverse, but at least we know the work depicted was finished around 1921. Close-ups here show not only the remarkable carving, but his weapon of choice.
Anonymous snapshot of a folk art furniture maker and carver, 1921 Collection Jim Linderman
Tip of the Hat to Joey Lin of Anonymous Works
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Elmer Anderson Mike Kelley Inappropriate Appropriation, The Thing , Genuine Genius Scott Warmuth and Ghostly Afterimage
There is nothing better than a slow-burning low-art mystery, and Elmer Anderson just continues to prove it. My third post on Elmer in as many years, this one prompted by a remarkable find by the brilliant Scott Warmuth. An actual ad (!) taken out by Elmer's distributor, in of all places Billboard Magazine! Maybe they thought musicians were the perfect consumers for his wacky and incomprehensible drawings. You know...the reefer.
NOW having done three posts on the artist Elmer, I should be recognized as the world's foremost Elmer Anderson scholar, though I know absolutely NOTHING about him. As such, I'll take any opportunity to exhibit Elmer. Or as I pointed out HERE, "Genuine" Elmer. Certainly one of the most infamous, if unknown, artists of Waterloo, Iowa.
I have also since learned noted contemporary artist Mike Kelley used an Elmer Anderson image, "The Thing" shown above, as the source for his painting "Ghostly Afterimage" in 1998. Now that may be appropriation, but it certainly is not appropriate. "The Thing" can stand on it's own, it being a dramatic and profound anti-alcohol piece with a sufferer choking a whiskey snake.
Here is what falutin' art magazine Frieze had to say about Kelley's piece based on "The Thing".
"Ghostly Afterimage, for example, a brutish self portrait in oils by the fictional ‘Elmer’, accompanied by a psycho-babble commentary claiming that ‘Elmer’s shaky paint is typical of those who suffer from the type of violent delirium characterised by the sweats, trembling, anxiety and frightening hallucinations’"
Brutish? FICTIONAL? Humpf. May I suggest another word starting with BR? Brilliant!
Sure enough as seen here, lower right, Kelley's painting is a perfect reversed image of Elmer's brilliant work, but appears to be painted on (the then) trendy plywood backing contemporary artists were using in the late 90s. The IRONY. Well, Elmer didn't work in irony, and I doubt he ever knew his image was shown as "kunst" in Germany. If you dig around enough, you will find the brochure, which is a German art catalog, but you'll have to use Google translate to see if the "critic" liked it!
Jim Linderman is a collector of Elmer Anderson Postcards, and author of THE HORRIBLE HANDMADE POSTCARDS OF ANONYMOUS printed by Blurb. Anonymous would have liked Elmer.
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Design Art of the Pamphlet A Tribute and Essay by Jim Linderman
Waiting rooms. The domain of the pamphlet. Public Service or propaganda, these graphic little printed booklets are probably the most common art form never really appreciated. They are seen but neglected. A million artists have worked on them without credit. Your doctor will tell you about smoking. Your Secretary of State will tell you about driving safety. Your employer will tell you rules, give advice and describe the procedures. Each will be printed in stapled form, some eight pages or so, and they will always be free. Sometimes the cost is born by the government, sometimes by a corporation hoping to score points. But the common theme to all is a lack of artistic credit. As the purpose is to spread the news like wildfire, they often carry no copyright. No library holds them. Once the rack is empty, a new one will come along to fill the space.
Everyone of these splendid and striking little works of art come from one of the millions and millions of pamphlets sitting in racks now waiting to be left in the car, then weeks later taken in and forced into an overfilled kitchen trash can. They'll help you push down the coffee grounds without getting your hands wet.
The artist is unidentified. He worked in the orange color used in traffic signs as that has been determined to be the brightest shade to attract the eye. His or her graphics are simple, easy to understand but accomplished. There is room for creative expansion but little abstraction to confuse.
Images from "Do You Have Mile-A-Minute Eyes?" Employee Rack Service of Western Electric Company 1959. Pamphlet Collection Jim Linderman
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