African-American Yard Art "Does Nothing" Press Photo Collection Jim Linderman

African-American Yard Art "Does Nothing" while being great.


Irving Keene construction, December 1956 Original photograph by Robert H. Burgess Press Photo Collection of Jim Linderman

Outsider Art Fair 20th Anniversary Review from Afar 2012

No, the pictures above are not from the Outsider Art Fair 20th anniversary.

Viewing the 20th anniversary outsider art fair from afar, through slide shows, it appears after all that time the field (as I hate to call it) is still confused, too inclusive and loaded with baggage. At best a misnomer, the term has been squabbled over for so long I gave up, but with distance and time, I will revisit.

Shown here is the material which first attracted my eye, the Black Folk Art show of 1982. A magnificent exhibition of material which was mistakenly included under the rubric of outsider art around the same time, but a show which to this day remains as one of the best curated art shows of my lifetime.

The true defining criteria for anyone being marketed as an outsider is a complete lack of training in the arts. No schooling and I'm not fooling. I have always felt anyone aware enough of the art world to claim to be an outsider doesn't qualify AS an outsider. I don't mind artists, dealers or collectors fighting over the definition, if they still do..but once again it is obvious a few ringers are slipping in. People who even begin to utter "I am an outsider artist" do not pass the test. And no, art school "drop-outs" do NOT qualify either. Neither does anything from an "other-worldly" environment, culture or country if it is part of the regional milieu.

The other primary criteria is that the artists work in some form of isolation. This could be as a result of institutionalization, a lack or educational opportunities, a religious fervor, an undefined particular visionary impulse...you name it...but while creating their initial body of work they have no idea anyone else is doing it, and they make it all from their own devices. No looking at Sotheby's catalogs or finding a "how to paint" brochure at the flea market. None. NONE.

However, the "trained or untrained" aspect, dicey enough, isn't the most unfortunate definitional failure of the material or the show. It is the inherent dichotomy of lumping together artists who come from no school and FIT into no school together in one place. How can a group of artists be labeled and lumped as outsiders when by definition they have absolutely nothing to do with each other?

Which is why I show the photographs above. You see, these artists DID come from a "school" of sorts. All the artists included in the Black Folk Art show had something in common...all were from fairly early generations which were descendants of slaves. They thus, to some degree or another, shared the common experience of having been displaced...and all held again, to some degree, a shared African-American esthetic which was retained, unconscious or not, in their work. They shared a common origin (to the extent that their ancestors were taken from one huge continent and brought to another) and they shared an inherent consistency of cultural artistic expression. Which is why together they formed a successful exhibition. Not really a "school" mind you, as originally none of them had any idea the others existed, but an esthetic. They lacked educational skills, formal training and awareness of the arts but that was the result of racism more than any other circumstance.

They were mistakenly included originally as "outsiders" when the field formed, and their works still appear here and there as by far the best work in the outsider show. Bill Traylor, Sam Doyle, William Edmondson. Even the lesser known and lesser skilled George Williams, whose frontal totemic carved figures look quite smart above. I say the best work, but that still doesn't mean they belong there.

There is other good work at the show...I presume the magnificent Electric Pencil work was there, and I suspect James Castle was represented, but they were true isolates with completely unique consistent visions. In other words, they qualify but they do not belong.

Unfortunately the few rare genuine articles and the Black folk artists from the exhibition pictured above continue to be presented in a forum which persists to lump together all manner of eccentrics, wanna-bees and what a good friend of mine used to refer to, with little irony, as "failed trained artists" on the walls with no intellectual validity or foundation other than a good weekend bourse. In other words, a good show to visit but not to write about.

Pair of original "installation view" photographs by Michelle Andonian 1983 Collection Jim Linderman

Goofy Term Warfare and the Plywood Jesus Garden Outsider Art

Having pretty much given up the "term warfare" which surrounded "outsider art, vernacular art, self-taught art, eccentric art, art brut, amateur art, sunday painter art, institutionalized art, marginalized art, visionary art, folk art, naive art" and the like in favor of my all- inclusive term "goofy" I hear present a splendid exhibit of some of the goofiest.

E.K. Lund was a part-time magician who lived to the age of 100. From the looks of these cards, that is about one plywood figure a year.

Photo Postcards from Lund's Garden.

See Also "Preacher, Artist, Magician, Centenarian" HERE

DULL TOOL DIM BULB BOOKS HERE

Found Poetry from the Mom and Pop Culture Shop

The Mom and Pop Culture Shop is top of the heap. Not only are the vintage clothes in colors trippy (and for sale!) They post astounding letters like the one above from a prisoner to a model. Now THIS is good writing! They call it "found poetry" but I call it ART. (Sorta) Also see their wonderful collection of wacky outsider art!

The Mom and Pop Culture Shop is HERE The Letter (I Don't Got A) is HERE
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Sand Sculptures of Atlantic City Seaside Sand Sculpture without Snookie or the Situation

Working with sand! Sand Sculpture where I live is done with your toes and with every step, but the REAL art flourished in Atlantic City in the late 19th century. Talented artists began creating temporary statues and, as shown here, relief sculptures for passing boardwalk visitors.

They always had a purpose other than mere beauty. Some were commissioned by boardwalk businesses as advertising, others were sponsored by local fraternal organizations. There were independent artists as well, they worked for tips...but like all boardwalk "artists" many were con men. I don't know how you can pick the pocket of a fellow bending over to look at your sand sculpture when he is wearing bathing trunks, but it happened, and the practice of drawing crowds to sand art was outlawed in 1944.

Some artists worked close enough to the boardwalk to catch coins tossed by the strolling masses, early versions of "The Situation" and drunken shore slut "Snookie" (both who actually hang a few miles north at Seaside Heights, once one of my favorite places to escape from New York City for a weekend.) The only sculptures up there are The Situation's sculpted abdominal muscles.

Some would work on commission and create a sculpture of a paying customer. Many of the artists were African-American. Although not too well known, the Clarion magazine, (published by the American Folk Art Museum) describes Black artists working on the beach in a 1992 article, and as I recall, documenting an instance of an African-American artist being "lightened up" for a postcard.

For the silica masterpieces shown here, sand was densely packed into a box surrounded by 2 x 4 wood section and shaped with sticks and trowels. The sand surrounding the work was then painted black. I have found no less than two dozen postcards depicting the artists and their work, most dating to around 1910 (including one dated 1911 showing this very group of sculptures) but this is the only actual photograph I have seen. It dates to 1910 or so as well, I have seen the same group of works shown in a magazine around that time. As you can see, the artist added a few more works before the picture was taken for the postcard. Maybe they lugged them under the boardwalk when it rained.
Original Vernacular photograph of Atlantic City Sand Sculptures, circa 1910 collection Jim Linderman

Crazy Concrete Monumental Monolith of Ed Galloway Cement for Sooners

Imagine my surprise when I learned this 90 foot cement tribute to an imaginary mish-mosh of Native American Tribes not only still stands, but it is listed on the National Register of Historic Places! (Not the more exclusive register of Historic LANDMARKS, but still) I thought I had just bought yet another photograph of a long forgotten goofy thing. Goofy it may be, but it was carefully restored and repainted by the Kansas Grassroots Art Association. That it is in Oklahoma seems not to have mattered to the Kansans. It is claimed to be "The World's Largest Concrete Totem Pole" (um...yeah, duh) but maker Ed Galloway cheated...he built it on a giant five foot tall turtle barely seen in the photo.

This Press Photo dates to 1947, just about near the time Ed claimed it was finished. It was even given an unusual amount of respect at the time from the press...note the text on the reverse says nothing about Ed's mental state, though if you look really close you CAN see they titled the caption "Monumental Joke." They also call it "grotesque" and infer it was made to trick future paleontologists. However, as Ed is passed away now, I can question his sanity! What crazy Okie would build a giant cement totem pole?

Whether Ed's mind was fit as a fiddle is questionable, but he made fiddles too...400 of them, though many were stolen out of the Fiddle house he also built next to the totem to hold them a few years after he passed away.

Ed's pole is estimated to weigh 134 tons. The big goobers on the side here also still remain. Ed mixed up his tribes a bit, putting some traditional Northwestern motifs down in the Sooner State too. In fact, the Indians Ed is depicting in his gravel and stone monolith are in a way responsible for the State's nickname, as after having driven them all further west (or 6 feet underground for good) the territory was opened up for all (All Non-native that is) in a giant landrush...and the cheaters who snuck in early received the more charming name of Sooners.

Ed Galloway was born 20 years before Oklahoma became a state, and started building his thing thirty years after.


Original Press Photograph 1947 Collection Jim Linderman

Frank Maresca Gallerist, Herman Bridgers Preacher, Artist, Grave Digger

(click image to enlarge)

The current issue of Antiques & Fine Art profiles Frank Maresca. It also shows his apartment in Manhattan, which is always a treat not only because I love Frank's collection and his skill of design, but because there is often shown an object or two which speaks particularly loud to me, the primitive and powerful work of Herman (Bridgets) Bridgers. More than anyone Frank has shown how to present American folk art sculpture as the art it IS. Well-lite, on pedestals, with room to be seen, appreciated and to breathe. Frank has been an influential gallerist. writer, curator and designer for nearly 30 years, and through his books and exhibits he has literally changed how a country looks it its own art. No small feat. Mr. Maresca has always championed the work of a modest artist who lived in Enfield, North Carolina I wrote about in 1996. Seeing some of his work again in the magazine reminded me it should be archived online, so here it is.