Josh Cote at Jeanine Taylor Folk Art, FL
March 17 – April 22, 2018 Meet artist, Josh Cote, and view his twisted oversized wire works at the opening reception of "Down the Rabbit Hole" at Jeanine Taylor Folk Art on Saturday, March 17th. See Cote's wire sculptures depicting seven feet tall bike riding rabbits, the inner workings of Houdini’s book of tricks, and upside down bats hanging from rafters. Jeanine Taylor Folk Art
211 East First Street, Sanford, FL 32771
www.jtfolkart.com
James Castle House Inaugural Symposium
James Castle House, 2018, image courtesy of Boise City Department of Arts & History
April 25–27, 2018 A three-day symposium will place April 25–27. Hosted by the City of Boise’s Department of Arts & History, it is an opportunity to celebrate James Castle’s work in the context of the distinctive places that were his home. Learn about the preservation and reopening of the James Castle House, as well as efforts to preserve Castle’s Shed studio and Cozy Cottage Trailer. A private pre-opening tour of the James Castle House is included, along with five separate Castle exhibitions of artist books, drawings and assemblages experienced on fieldtrips throughout the city, with many works never seen before by a national audience. www.JamesCastleHouse.org
New Self-Built Environments Website
Ferdinand Cheval, Hauterives, photo: Francis David, 2018
March 15–17, 2018 Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut has launched a new website dedicated to “habitants paysagistes”: men and women who modify their living places through indoor or outdoor creations to inhabit the world poetically. From March 15–17, LaM will be holding conferences, workshops and screenings to coincide with the launch of the website. http://habitants-paysagistes.musee-lam.fr The Lille Métropole Museum of Modern, Contemporary and Outsider Art (LaM)
1 Allée du Musée, 59650 Villeneuve-d'Ascq, France
www.musee-lam.fr
Galerie Claire Corcia, Paris
through April 14, 2018 The exhibition "L'Île" ("The Island") at Galerie Claire Corcia presents the unpublished works of the young French artist Julien Calot. Galerie Claire Corcia
323 Rue Saint-Martin, 75003 Paris, France
www.galeriecorcia.com
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MARTINE LUSARDY AND HALLE SAINT PIERREThe Director of one of Europe’s premier locations for art brut and outsider art talks to Raw Vision’s editor, John Maizels
Martine Lusardy at Halle Saint Pierre, May 2017
What year did you first arrive at Halle Saint Pierre? Originally it was a museum of naive art, what was it like when you first arrived? Before I arrived in 1994, it was a museum that housed two separate entities: a naive art collection and a children's museum. The museum for children had exhausted its dynamics and was no longer a forerunner, and the collection of naive art was very poor, far behind the Charlotte Zander Collection in Germany or the Museum Anatole Jakovsky in Nice.
How did you change Halle Saint Pierre from a naive art museum to a centre for art brut?
It was necessary to give a real cultural project to Halle Saint Pierre, which was missing from the beginning. The first exhibition, “Art Brut & Cie: The Hidden face of Contemporary Art”, was the founding stone of this project. It defined its main lines and its spirit. This one-year exhibition brought, for the first time, six museums together in one: five major collections of the second generation of art brut around Lausanne’s mother collection. In other words, the exhibition was of such great significance in France, where mainstream events dedicated to art brut were so rare, that it had a huge impact. Over that year, Halle Saint Pierre became the go-to place for outsider art, with conferences, film festivals,
meetings, exhibitions and, above all, its bookshop: a very lively place where people met, exchanged, spoke, and expressed their agreement – or disagreement. I could easily draw a conclusion as to the future of Halle Saint Pierre. I had my cultural project: art brut and outsider art. I had the spirit: to make the place alive.
What influence did Laurent Danchin have on the curation of art brut and outsider art exhibitions? Laurent used to visit Halle Saint Pierre from the beginning, as he was interested in some of our exhibitions such as “Fantastic Architectures”, or “From Rousseau to Demonchy”, co-curated by Roger Cardinal, which presented the best naive art from international collections. He forged strong links with Laurence Maidenbaum and Pascal Hecker, who were in charge of the bookshop. They introduced me to Laurent with the idea that he could be a good advisor. He became the main curator of “Art Brut & Cie”. Laurent not only knew the history of art brut, from its prehistory to its current developments, he also made outsider art his
spiritual family and built very personal and human ties with every person who shared his passion. His thoughts and his passion were always in motion.
Joe Coleman, In the Realms of the Unreal: Henry Darger, 1998, acrylic on canvas, 28 x 33.2 ins. / 71.1 x 84.4 cm, collection of Robert A. Roth
The Halle Saint Pierre became his favourite place to share his knowledge and discoveries. He co-curated nearly ten exhibitions, including the one dedicated to his friend Chomo. Art brut, almost without exception, is an art whose authors relate not to high culture but to popular culture. However, the discoverers and mediators are always people belonging to the other, “high” culture: artists, writers, journalists, psychiatrists (Prinzhorn, Klee, Breton, Dubuffet or Malraux in the past century). Art brut and outsider art are therefore essentially the notions of scholars, and without the active and militant recognition of a very sophisticated and intellectual painter like Jean Dubuffet, the type of creations they represent would never have gone beyond, at best, a purely local outreach. We shared Laurent’s determination to
uphold this reality without concern for intellectual hierarchy, in order to prevent a caste of specialists from taking ownership of art brut to make it a dehumanised scientific subject.
Halle Saint Pierre is Europe’s premier location for large exhibitions of outsider art. How do you see its influence having developed over the years? How do you see its position in the field of outsider art?
The fact that we do not have a permanent collection like the other museums forced us to organise only temporary exhibitions and therefore to be always active in a prospective view. The fundamental lines on which I based the conception and setting-up of exhibitions are still applicable today:
To highlight the vast range of marginal art with no hierarchy, but in determining their relationship to the art mainstream. - To establish links with the more scholarly forms of creation.
- To question deep issues of creation.
- To maintain the specificity of art brut and outsider art in contemporary art.
- To remain committed to various forms of living creation.
McKendree Long, Vision of the Sixth Angel, 1967, oil on canvas, 42 x 56 ins. / 106.7 x 142.2 cm, Hardy P. Graham and Lee G. Morphis Collection
The spirit behind all our activities can be stated as “building bridges”. Bridges between the heritage of Dubuffet’s thoughts and ongoing issues and practices arising in the field. Bridges within or between cultures. Bridges between representatives of various disciplines (writers, philosophers, psychoanalysts, psychiatrists, sociologists). Bridges between artists, institutions, collectors, audiences. Bridges that are yet to be imagined. To build bridges expresses the freedom of a living thought. Read the rest of this article in Raw Vision 96, out now!
Our spring issue, out next month, is available to pre-order now, featuring: - The work of conservation organisation SPACES
- An introduction to four little known Japanese outsiders
A nineteenth century depiction of outsider art Texas outsider Charles Dellschau Bartolomeo Mereu from Sardinia Tim ter Wal's highly detailed pencil drawings Stephen Warde Anderson - Gennadiy Lukomnikov
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