Galerie Atelier Herenplaats:Co-Founder Frits Gronert to RetireAfter working at the outsider arts studio Galerie Atelier Herenplaats in the Netherlands for thirty years, co-founder Frits Gronert is retiring. Galerie Atelier Herenplaats was founded by Frits Gronert and Richard Bennaars in 1991. Today, it is a creative and lively organisation with more than forty amazing artists working in their studio. Frits Gronert; photo: Herenplaats From Galerie Atelier Herenplaats:
Galerie Atelier Herenplaats artists and staff; photo: Herenplaats
We here at Raw Vision would like to that Frits for his long-standing dedication to the field of outsider art and his infectious enthusiasm for the work of all of the wonderful Herenplaats artists. We wish Frits the best for the future! The Gee’s Bend Quiltmakers:First Solo European ExhibitionFrom 26 November, 2020 until 16 January, 2021, Alison Jacques Gallery will present the first solo exhibition in Europe devoted to three generations of women artists living in Gee’s Bend, now known as Boykin. The women of Gee’s Bend—a small, remote, Black community in Alabama—have created hundreds of quilt masterpieces dating from the early twentieth century to the present. 'Pig in the pen' - block style, Rita Mae Pettway (2019). Cotton / polyester blend, 210.8 x 210.8 cm (83 x 83 in.) The exhibition provides a survey of quilts spanning nearly 100 years from the 1930s through to 2019 with some of the artists still living and working in Boykin today. Audio of some of the songs sung passed down through the generations of artists in Boykin are included as a backdrop to the show. Big Wheel, Stella Mae Pettway (1986). Double knit, cotton and polyester, 218.4 x 193 cm (86 x 76 in.)
Work-clothes strips, Loretta Pettway Bennett (2003). Denim, 200.7 x 152.4 cm (79 x 60 in.)
Two-sided quilt: 'Blocks' and 'One Patch', stacked squares and rectangles variation, Essie Bendolph Pettway (1973). Cotton, polyester knit, denim, 223.5 x 203.2 cm (88 x 80 in.) This exhibition is organised in partnership with the Souls Grown Deep Foundation, a non-profit organisation dedicated to documenting, preserving, and promoting the contributions of African American artists of the South, and the cultural traditions in which they are rooted. Learn more at alisonjacquesgallery.com and soulsgrowndeep.org. Drawing Room:Not Without My Ghosts: The Artist As MediumCurrently running until 1 November, 2020, Drawing Room's "Not Without My Ghosts: The Artist As Medium" is a major exhibition of artists and works inspired by mediumistic methodologies and their deep cultural history. The Spiritual Crown of Annie Mary Howitt Watts, Georgiana Houghton (1867). Watercolour on paper on board, 33 x 23 cm (13 x 9 in.) Drawing Room, a London-based organisation which helps people of all ages and backgrounds to discover contemporary drawing, was initiated by curators Mary Doyle, Kate Macfarlane and Katharine Stout in 2002 and is a non-profit public organisation that relies on the support of individuals, organisations and trusts, alongside the funding it receives from Arts Council England. Toy, Ithell Colquhoun (1947). Watercolour and ink on paper, 42 x 31.5 cm (16.5 x 12.5 in.)
GL 28 (Naivete), Pia Lindman (2016). Pen, China ink and felt pen on archival paper, 29.5 x 21 cm (11.5 x 8 in.) Visitors should pre-book free timed entry slots for the exhibition. Time slots are available from 12–6 pm, Wednesday through til Sunday, with late opening until 8 pm on the last Thursday of every month. Learn more at drawingroom.org.uk. Art in Quarantine: Greg Bromley Greg Bromley is a self-taught mixed media artist hailing from Hull, East Yorkshire, England. He has worked as a social worker for 20 years and began painting 8 years ago after experiencing significant life stressors. Bromley’s 2020 work has absorbed living through the COVID crisis, issues of loss, dominance, hope and resilience and his very recent journey into fatherhood. You are the cub who was washed out to sea on a crimson tide, Greg Bromley (2020). Mixed media on canvas, 100 x 80 cm (30 x 31.5 in.) Much of his work is meant to be read, as there can be multiple narratives at play; many of the ‘hidden’ narratives appear to be subliminal messages to the artist only realised on completion of a piece. For example, the 2020 piece The Viral Load (above) suggests the two central characters are in epic conflict, surrounded by viral transmission, however, the hidden narrative indicates gestation and rejection. The Viral Load, Greg Bromley (2020). Mixed media on canvas, 150 x 100 cm (59 x 30 in.) Bromley defines his work as mythologizing his anxieties through colourful biomorphic creatures and black and white "dread devils".
The Tree of Strife, Greg Bromley (2020). Mixed media on canvas 100 x 80 cm (30 x 31.5 in.) Bromley has focussed greatly on the composition and "dance of the dread devils", adding that they increasingly represent the nebulous flow of negative thought. His colourful central characters tend to be in conflict with the black and white devils, as the main characters flow they are surrounded by the "plague of thought". Of late, Bromley has added repeated star/virus motifs as part of his composition that reflect his interest in the grandeur of the macro cosmos but also the fear of the unseen micro cosmos. An infraction beyond the sorrow clouds, Greg Bromley (n.d.). Acrylic, ink, marker, pencil, paint on canvas, 150 x 100 cm (59 x 39.5 in.) See more of Greg Bromley's work on his website, cosmicwormhole.com, and also on Outside In's website. Raw Vision 106 Out NowRaw Vision #106 features: Gwyneth Rowlands, Joe Coleman, Patrick Hackleman, Jean-Marc Renault, Nellie Mae Rowe, Monique Mercerat, Albert and La Fabuloserie. For orders of 10+ issues please email info@rawvision.com for a reduced postage cost. |