Archive for December 19, 2002

Notes

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Notes. Mennello Museum 12/19/02

The painting is not simultaneous, neither is it a linear way of portraying a story. Instead it’s a hodge podge of sights that layout out events in one frame that didn’t necessarily happen at one time. It’s a cluster of happenings linked only by the way the eye treads across the frame and canvas. ——————- Earl Cunningham. Even place is disposed, fragmented, and displayed w/o knowledge of perspective, the timing and place of the work becomes more apparent. Everglades, Indians or maybe black people shown, white people, I’m assuming the leasuirely people are white, are cast in shadow. ———– 1930 characterizes himself as American Primitive, written on bottom of painting. —– 1945 crossed out to 1944 crossed out to 1940, first paintings w/ white people in them. ———– had to be from memory, pictures from 70s still idyliic towns. no cars. —- touch of Fauves —— Adolf Wolf 64 – 1930. Christoph Columbus —- Anna Zomankoua

Scottie Wilson Canada. Toronto. W/ the art brut the narrative is usually thrown out. the image becomes less satisfingfy becuase it’s a sigil, not a story. while the images resound w/ creative detail, their greatest draw is their execution. On the other hand Henry Darger suffers from excessive narrative, an almost schizo retelling

Friedrich Schroder-Sonnenstern not insane ——– Emmanuel doriennic ——- madge gill ——– edmund mongieul. intrictate, but comic, comes close to having a story, but seems more to be a single gesture amplified (edited here)

Jaine Fernandes, more surrealist than art brut, a narrative emerges, we have one part, a glimpse to work from. ——– martha grunenwaldt on electroencephalogram
—— J.B. Murry non-sense narratvies
—– Jean DuBuffer, guy who “discovered” many of these.

Things I Did Wrong One, J.B. Murry didn’t write nonesense narratives, the words are only legible through a bottle of holy water. Two, the absence of a narrative certianly doesn’t imply insanity, after all abstract art dispensed with telling a story. What happened here was I went there Earl Cunningham’s folk art before hand, looking at his pictures noticing the way he enveloped a narrative into his work like most painters before the 20th century did. Historical scenes, etc. When you arrive at the art brut exhibit the differen is immediately apparent. The art brut exhibition has maybe 3 paintings that evoke a sense of a narrative. Henry Darger’s work with the same girls doing different things at once seems like an overload of the narrative. There’s no place to be lead to, only a kinda confusion exists. Darger’s got a lot to him that makes his work so popular. He traced his children from comics etc. Piracy in painting, outsider, all the other things. Jaine Fernandes has a few surreal moments in which the picture seems to come from other place, and you standing there have already been there. It presupposes a fictional past in which you’ve seen the creatures of the canvas slinking past your door, as does Friedrich Schroder-Sonnestern. Both of these artists’ work do not strike me as coming from deranged minds, I’m assuming neither of them were insane, although they might have been institutionalized. The most stunning thing is the attention to detail. Many of these works might be self-taught, but the artist has graduated with a Phd from their own university. Perhaps the reason many of these works have a relation to modern art (as in being non-narrative) is that Jean Dubuffer discovered them. A modern artist himself, he incorporated the intense focus these works have into his own art. Dubuffer’s output could have passed for a 19th century schiozophreniac’s.

December 19, 2002 at 6:00 pm Leave a comment

Notes

Notes. Mennello Museum 12/19/02

The painting is not simultaneous, neither is it a linear way of portraying a story. Instead it’s a hodge podge of sights that layout out events in one frame that didn’t necessarily happen at one time. It’s a cluster of happenings linked only by the way the eye treads across the frame and canvas. ——————- Earl Cunningham. Even place is disposed, fragmented, and displayed w/o knowledge of perspective, the timing and place of the work becomes more apparent. Everglades, Indians or maybe black people shown, white people, I’m assuming the leasuirely people are white, are cast in shadow. ———– 1930 characterizes himself as American Primitive, written on bottom of painting. —– 1945 crossed out to 1944 crossed out to 1940, first paintings w/ white people in them. ———– had to be from memory, pictures from 70s still idyliic towns. no cars. —- touch of Fauves —— Adolf Wolf 64 – 1930. Christoph Columbus —- Anna Zomankoua

Scottie Wilson Canada. Toronto. W/ the art brut the narrative is usually thrown out. the image becomes less satisfingfy becuase it’s a sigil, not a story. while the images resound w/ creative detail, their greatest draw is their execution. On the other hand Henry Darger suffers from excessive narrative, an almost schizo retelling

Friedrich Schroder-Sonnenstern not insane ——– Emmanuel doriennic ——- madge gill ——– edmund mongieul. intrictate, but comic, comes close to having a story, but seems more to be a single gesture amplified (edited here)

Jaine Fernandes, more surrealist than art brut, a narrative emerges, we have one part, a glimpse to work from. ——– martha grunenwaldt on electroencephalogram
—— J.B. Murry non-sense narratvies
—– Jean DuBuffer, guy who “discovered” many of these.

Things I Did Wrong One, J.B. Murry didn’t write nonesense narratives, the words are only legible through a bottle of holy water. Two, the absence of a narrative certianly doesn’t imply insanity, after all abstract art dispensed with telling a story. What happened here was I went there Earl Cunningham’s folk art before hand, looking at his pictures noticing the way he enveloped a narrative into his work like most painters before the 20th century did. Historical scenes, etc. When you arrive at the art brut exhibit the differen is immediately apparent. The art brut exhibition has maybe 3 paintings that evoke a sense of a narrative. Henry Darger’s work with the same girls doing different things at once seems like an overload of the narrative. There’s no place to be lead to, only a kinda confusion exists. Darger’s got a lot to him that makes his work so popular. He traced his children from comics etc. Piracy in painting, outsider, all the other things. Jaine Fernandes has a few surreal moments in which the picture seems to come from other place, and you standing there have already been there. It presupposes a fictional past in which you’ve seen the creatures of the canvas slinking past your door, as does Friedrich Schroder-Sonnestern. Both of these artists’ work do not strike me as coming from deranged minds, I’m assuming neither of them were insane, although they might have been institutionalized. The most stunning thing is the attention to detail. Many of these works might be self-taught, but the artist has graduated with a Phd from their own university. Perhaps the reason many of these works have a relation to modern art (as in being non-narrative) is that Jean Dubuffer discovered them. A modern artist himself, he incorporated the intense focus these works have into his own art. Dubuffer’s output could have passed for a 19th century schiozophreniac’s.

December 19, 2002 at 6:00 pm Leave a comment


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