I’m as guilty as anyone of overusing the concept of “greatest ever,” but this nativity scene is a legitimate candidate for the title. A full-blown, if temporary, art environment, it is the work of retired fashion designer and cosmetologist Jim McCall. You can read about McCall and the site and see more photos in this Block Club Chicago story. More art environments here.
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Wind power today usually means alternative energy, but there are those who harness it as a source of personal expression: The whirligig makers. Vollis Simpson ran a machine shop, did heavy equipment repair and was involved in moving houses. In retirement, he started tinkering with odd parts he had lying around. And he started making whirligigs. Big ones. His original whirligig park, in an out-of-the-way field in out-of-the-way Lucama, North Carolina, was the world’s most spectacular concentration of these wind machines. Simpson died in 2013, but the whirligigs were preserved and relocated to a dedicated park in nearby Wilson, where they
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Walks to the Paradise Garden: A Lowdown Southern Odyssey, by Jonathan Williams, photos by Roger Manley & Guy Mendes. Institute 193, Lexington Kentucky and New York, 352 pages, 100 color images and 80 black and white , 2019. ISBN: 978-1732848207. Hardcover, $45. It’s a shame this book wasn’t published as intended in the 1990s. Not only would its author have still been alive, but so would most of the artists he encountered on his travels across the back roads of the South. Inspired by William Least Heat-Moon’s Blue Highways, Jonathan Williams, poet, publisher and lover of the vernacular, undertook a series of
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You’re not too likely to stumble upon this art environment in Chicago’s Bridgeport neighborhood. It’s on an out-of-the-way dead-end street. But it’s worth the hunt. Alex Rico turned his home into a literal castle to honor his late wife Gisela, who died at 34. “I told my kids I want to do something so I could remember your mom. Not in the cemetery. This is something I see every day,” Rico told the news site Block Club Chicago. You can read the full story and see pictures here and below. See more art environments here.
Continue readingFred Smith’s Wisconsin Concrete Park, the fabulous art environment in Phillips, Wisconsin, circa 1997 and 2007. There is plenty to be said about Smith and his creations. For more information, visit its Spaces archive page or the Friends of Fred Smith site. Back to Wisconsin: The Roadside Genius State.
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I wrote this little essay about 25 years ago, when the concept of outsider art was new to the also-new World Wide Web. The real experts hadn’t yet gone online, and something was needed there to explain this kind of art. Like many of us, I’ve learned a lot since then, and the recent death of Roger Cardinal, whose 1972 book “Outsider Art” originated the term, made me consider revising the essay. It has a bit of history about it, at least for me, though, so I’ve left it as is. My views about the term have changed, however,
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Outliers and American Vanguard Art, by Lynne Cooke. University of Chicago Press, Chicago, 412 pages, 450 color plates, 2018. ISBN: 978-0226522272. Hardcover, $65 Outliers and American Vanguard Art, filling several rooms at the National Gallery of Art, is a dauntingly large-scale show. And at five pounds, 412 pages, 450-plus illustrations and a 10 x12 form factor, its catalog is even more daunting. But, despite some excess imbrications and fixed subject positions, the art and the important points being made are plenty sufficient to interest non-academic readers. Curator Lynne Cooke’s core premise is that the story of modernism is woefully incomplete absent
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Mythologies, the name of the Kohler Art Center exhibit and substantial catalog, makes a holistic case for Eugene Von Bruenchenhein’s brilliance.
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A look past Chicago’s outsider art canon to anonymous & lesser-known artists, the collectors who found their work, and Maxwell Street, where many learned how
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Harvey Ford was a prolific producer of drawings when he was in the art program at Joliet’s Stateville Penitentiary, but he also made some impressive sculptures, mostly ceramic, and at least a few papier-mâché. The colors and shapes are more than a match for the intensity of his drawings, many of which he made with burnt matches. Although prison art programs produce a lot of material that is of little interest beyond the cellblock walls, the Stateville program, as its output makes evident, encouraged artists to follow their own creative direction. Ford was a true visionary and a case study
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