WINTER 2015/2016

RAWVISION88

EDITOR John Maizels

DIRECTORS Henry Boxer, Robert Greenberg, Audrey Heckler, Rebecca

Hoffberger, Phyllis Kind, Frank Maresca, Richard Rosenthal,Bob Roth

ART EDITOR Maggie Jones Maizels

SENIOR EDITOR Edward M. Gómez

FEATURES EDITOR Nuala Ernest

ASSOCIATE EDITOR Natasha Jaeger

ACCOUNTS MANAGER Judith Edwards

SUBSCRIPTIONS MANAGER Suzy Daniels

US ASSISTANT Ari Huff

FRENCH EDITOR Laurent Danchin

CONTRIBUTING EDITORS Michael Bonesteel, Jenifer P. Borum, Roger Cardinal, Ted Degener,

Jo Farb Hernandez, Tom Patterson, Colin Rhodes, Charles Russell

ADVERTISING MANAGER Kate ShanleyArtMediaCo, Sales & Marketing

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PUBLISHED by Raw Vision LtdPO Box 44, Watford WD25 8LN, UK

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website www.rawvision.com

USA119 West 72nd Street, #414,

New York, NY 10023(Standard envelopes only)

ISSN 0955-1182

4 RAW NEWSOutsider events and exhibitions around the world.

12 OBITUARIESPaul Laffoley and Ionel Talpazan

14 DAN MILLERA recent discovery from the Creative Growth Art Center.

20 AMES GALLERYInterview with Bonnie Grossman on her retirement.

22 JJ BEEGANA chance discovery of work by an inmate in 1950s Britain.

30 20 YEARS OF AVAMRebecca Hoffberger looks at the achievements of AVAM.

36 WALL OF HEROESA Jamaican response to community violence.

38 BENGAL SCROLLSNarratives of itinerant story tellers.

46 JOHN BRILLUnusual perspective on outsider photography.

50 GERARD LATTIERSelf-taught French narrative artist, with a bite.

58 RAW STUDIOSProject Ability from Glasgow.

60 RAW REVIEWSExhibitions and events.

72 GALLERY & MUSEUM GUIDEA round-up of notable venues around the world.

Raw Vision (ISSN 0955-1182) December 2015 is published quarterly(March, June, September, December) by Raw Vision Ltd, PO Box 44,Watford WD25 8LN, UK, and distributed in the USA by Mail RightInc., 1637 Stelton Road 84, Piscataway, NJ 08854. Periodical PostagePaid at Piscataway, NJ, and additional mailing offices. Postmaster:send address corrections to Raw Vision c/o Mail Right InternationalInc., 1637 Stelton Road 84, Piscataway, NJ 08854.

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Raw Vision cannot be held responsible for the return of unsolicited material.

The views and opinions expressed here are those of the authorsand do not necessarily reflect the views and opinions of Raw Vision.

COVER IMAGE: Dan Miller, Unitled, 2015, ink on paper, courtesy of Creative Growth ArtCenter, Oakland, California.

WORLD’S BESTART MAGAZINE

UTNE INDEPENDENT PRESS AWARD

AMERICAN FOLK ART MUSEUM VISIONARY

AWARD

MEDAILLE DE LA VILLE DE PARIS

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R AW N EW S AUSTRALIA, AUSTRIA, BELGIUM, BRITAIN

SHAUL KNAZ AT GALERIE GUGGINGuntil Feb 18Galerie Gugging is featuring the works of Israeli self-taught artist Shaul Knaz in shaul knaz – layout for adream. Knaz’s works are created with oil, acrylic, glueand his own mixed elements on media such as PVC,plywood, paper or canvas. He observes situations in hiscountry, on the kibbutz, and expresses the desire forfreedom, love and peace.

GALERIE GUGGINGAm Campus 2, 3400 Maria Gugging AUSTRIAwww.gugging.org

Shaul Knaz

PALLANT HOUSE GALLERYMar 12 – Jun 12Radical Craft: Alternative Ways of Making will takeplace at Pallant House Gallery before touring aroundthe UK. Outside In’s fourth triennial open artexhibition is a collaboration with Craftspace and willshowcase craft focused work by historically renownedand invited contemporary artists associated withOutsider Art, alongside UK artists who see themselvesas facing barriers to the art world for reasons includinghealth, disability, social circumstance or isolation.

PALLANT HOUSE GALLERY9 N Pallant, Chichester PO19 1TJwww.outsidein.org.uk, www.pallant.org.uk

Joanne B. Kaar

MADMUSÉEJan 28 – Mar 5MADmusée has invitedthe choreographerAlain Platel tointerpret the collectionof MADmusée in Paysde danses.

THÉÂTRE DE LIÈGEPlace du 20-Août16, 4000 Liège, BELGIUMwww.madmusee.be

Chris Van der Burght

MUSEUM DR. GUISLAINuntil May 29Shame features works by Josef Hofer, Miroslav Tichý,Kaziemierz Cycon, Mohammed Targa and others.

MUSEUM DR. GUISLAINJozef Guislainstraat 43, 9000 Gent, BELGIUMwww.museumdrguislain.be

Josef H

ofer

REDWINGGALLERYuntil Sep 2016A changing exhibition ofpaintings by ChrisNeate, John Sheehy,Piers Lockwood andothers is on display untilSeptember. The not-for-profit social enterprise'sempty-shop project hasrecently expanded toinclude two floors ofgallery space.

REDWING GALLERY36A Market Jew StreetPenzance, Cornwall TR18 2HT, UKredwinggallery.co.uk

Chris Neate

ARTS PROJECT AUSTRALIAFeb 6 – Mar 12Tell 'em I'm dead is a group exhibition that will explorepost-apocalyptic themes by various emerging andestablished Arts Project artists. The exhibition willevoke a decaying landscape filled with ferociousmonsters, deadly viruses, zombies and skeletons.Running parallel, Bronwyn Hack’s solo exhibition BeCareful Now launches a recent collection of paintingsand 3D artworks that focus on anatomy and the body.

ARTS PROJECT AUSTRALIA24 High Street, Northcote, VIC 3070, AUSTRALIAwww.artsprojectaustralia.org.au

Bronwyn Hack

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R AW N EW S SWITZERLAND, USA

FOUNTAIN HOUSEGALLERYJan 14 – Mar 9One Step Beyond: ArtOff the Charts willexplore the pervasiveinfluence of music inthe visual arts, withworks by the artists ofFountain HouseGallery, Land Gallery,and by selected artistsfrom around the U.S.

FOUNTAIN HOUSEGALLERY702 Ninth AvenueNew York, NY 10019fountaingallerynyc.com

Myasia Dowdell

MUSÉE VISIONNAIREuntil Feb 28Einfach Tierisch! has been extended to February 28.Featured artists include Paul Amar, Ilija Bosilj, GregoryBlackstock, Ivan Rabuzin and André Robillard.

MUSÉE VISIONNAIRE Predigerplatz 10, 8001 Zürich, SWITZERLANDmuseevisionnaire.ch

Gregory Blackstock

MUSEUM IM LAGERHAUSuntil Feb 28Ego Documents continues at Museum im Lagerhaus,exploring artworks as a construction of the ego andself-manifestation. Artists include Pietro Angelozzi,Anton Bernhardsgru� tter, Rudolf Heinrichshofen andAntonio Ligabue.

MUSEUM IM LAGERHAUSDavidstrasse 44, 9000 St. Gallen, SWITZERLANDwww.museumimlagerhaus.ch

Rudolf Heinrichshofen

AVAM CELEBRATES 20 YEARS until Sep 4AVAM celebrate their 20th anniversary with The BigHope Show, with more than 25 visionary artistsexploring the transformative power of hope. Artistsinclude Bobby Adams, Margaret Munz-Losch, ChrisRoberts-Antieau, Nancy Josephson and The FlamingLips’ frontman Wayne Coyne.

AMERICAN VISIONARY ART MUSEUM800 Key Highway, Baltimore, MD, 21230avam.org

Wayne Coyne

MEMPHIS BROOKS MUSEUM OF ARTuntil Feb 28Wonder, Whimsy, Wild: Folk Art in America highlightsAmerican folk art from New England and the Midwest,created between 1800 and 1925. Among the paintingsare portraits, still lifes, landscapes and allegorical works,while the objects include sculptures, commercial signs,furniture and household objects. All of the works weremade by minimally-trained or self-taught artists inrural areas.

MEMPHIS BROOKS MUSEUM OF ART1934 Poplar Avenue, Memphis, TN 38104www.brooksmuseum.org

Edward Hicks

LEONARD JONESJan 15 – Mar 17Mike’s Art Truck andthe Alliance for HistoricHillsborough willpresent Simple Ways:Folk Art by LeonardJones at AlexanderDickson House.

ALEXANDER DICKSONHOUSE, 150 E King St,Hillsborough, NC 27278mikesarttruck.com

Leonard Jones

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R AW N EW S USA

OUTSIDER ART FAIRJan 21–24Some 59 exhibitors will be coming to New York for the24th edition of the Outsider Art Fair in January. Takingplace at the Metropolitan Pavilion on 18th Street, thefair will host dealers of self-taught artists from 13countries. The twelve first-time exhibitors includeDutton (New York), James Fuentes (New York), GaleriePolad-Hardouin (Paris), Morgan Lehman Gallery (NewYork), Les Arts Buisonniers (Saint-Server-du-Moustier,France) and Olof Art (Oegstgeest, Netherlands).

METROPOLITAN PAVILION125 West 18th Street, New York, NY 10011outsiderartfair.com

GEORGIA MUSEUM OF ARTuntil Feb 28Georgia’s Girlhood Embroidery: “Crowned with Gloryand Immortality” is the first comprehensive exhibitionto focus on Georgia embroidered samplers, created bygirls aged eight to twelve during the 18th and 19thcenturies in Georgia.

GEORGIA MUSEUM OF ART90 Carlton Street, Athens, Georgia 30602georgiamuseum.org

Frances Ro

e

GREY CARTER-OBJECTS OF ARTJan 9 – Feb 21Black & White, Read All Over is a group show ofdrawings by JJ Cromer, Loïc Lucas, MalcolmMcKesson and Joaquín Pomés Figueredo.

GREY CARTER-OBJECTS OF ART1126 Duchess Drive McLean, VA 22102www.greyart.com

Joaquín Pomés Figueredo

AFAMJan 20 – May 8Mystery andBenevolence: Masonicand Odd Fellows FolkArt from the Kendraand Allan DanielCollection documentsthe aesthetic heritage ofcultural artifacts relatedto fraternal orders in theU.S., with over 200 workscreated by self-taughtartists, artisans andmanufactories.

AMERICAN FOLK ARTMUSEUM2 Lincoln SquareNew York, NY 10023www.folkartmuseum.org

Anon

Von Bruenchehien at Carl H

ammer Gallery

GIL PERRY AT GALLERY IN THE WOODSuntil Apr 1Gil Perry’s intricate, visionary works are self-described as“dreaming with open eyes”. This collection includes sepiaink wash, graphite drawings and an alkalyd painting.

GALLERY IN THE WOODS145 Main Street Battleboro, VT 05301galleryinthewoods.com

Gil Perry

MARY WHITFIELDJan 21–24Paintings by MaryWhitfield will beshown at PhyllisStigliano Gallery atthe same time as theOutsider Art Fair.

PHYLLIS STIGLIANOGALLERY62 Eighth AvenueBrooklyn, NY 11217phyllisstigliano.com

Mary Whitfield

WHEN WORDS WRITE PICTURES

RAW VISION 8814

Untitled

2015

ink and acrylic paint on paper

56 x 42 ins. / 142.2 x 106.7 cm

By TOM DI MARIA

The exploration of text and gesture in the work of an artist from the CreativeGrowth Art Center in Oakland, California

15RAW VISION 88

What is so compelling about an artist using

text? Perhaps it reminds us of the

communicative power of art, its capacity to

transcend the culture or circumstances of the maker

and to forge a direct and vital link with a viewer. The

simple marks and the forms of the words and letters

become compelling graphic elements, familiar

signifiers that offer us a code into the meaning of what

we are seeing.

When the formal qualities of such a work are also

aesthetically gripping, comprised of text components

that tantalise us with beautiful and urgent lines, the

impact of the work can be even more startling. Such is

the experience of a Dan Miller work.

Born in Castro Valley, California in 1961, Miller has

been working at Creative Growth Art Center in

Oakland, California, since 1982. Creative Growth is one

of the world’s first art centres for people with

developmental disabilities. Founded in 1974, the

centre serves 160 adult artists every week and has a

mission to foster the aesthetic development of people

with disabilities in the visual arts.

After 45 years, the venerable Ames Gallery in Berkeley, California, is closing its doorsand Director Bonnie Grossman is retiring. Here, she reminisces with Rose Kelly

A FAREWELL TO AMES

Recollections: Art from the Ames Gallery, an overview of

the work exhibited during its long run, is on display in

the Craftsman-era home Bonnie shared with her husband,

Sy Grossman, since 1969. Sadly, Sy passed away after a fall

shortly after this interview.

I sat down with Bonnie in one of the spaces

throughout the house where she exhibits artwork and

what she describes as a gallimaufry of items, including

bottle whimsies, carved walking sticks, quilts, tramp art

and antique kitchen utensils. She is credited with

introducing the work of previously unknown visionary and

outsider artists, including A. G. Rizzoli, Dwight Mackintosh,

Alex Maldonado and Barry Simons.

Rose Kelly How did you begin running a gallery and howdid you choose the name?

Bonnie Grossman I was helping a friend who owned acraft store, the Artifactrie, with a gallery in the back. Soon, I

was running the gallery and I wanted something short,

easy to remember and at the beginning of the alphabet. In

1972, I moved the gallery here to our home. It was to be a

temporary solution while I went in search of a better place.

I never found one. At the beginning, I bounced back and

forth between showing either academic art or folk art and

the works of self-taught visionary and memory painters.

Our son, Michael, told me that I needed to focus on one or

the other.

RK How did you become involved with the local PBStelevision station, KQED and its annual auction fundraiser?

BG I thought that participation as an “art solicitor” or

offering our gallery as a collection site might bring us

some attention. Before long, I became director of the art

portion of the auction. I invited art critics and writers like

Cecil McCann and Charles Shere to review donated

artwork and to select artists for art-themed TV shows. This

was an incentive for people to donate quality art. I co-

produced five television shows, including ones that

featured Wayne Thiebaud and Joan Brown. Self-taught

artist Alex Maldonado donated his artwork to the cause.

His sister, Carmen, called to say, “My brother should win the

prize because he is an old man and he just started

painting.” As it happened, the critics did select him for a TV

show and I began to exhibit his work.

RK How did you discover the art of A. G. Rizzoli and what

impact did it have on you and the gallery?

BG In 1990, a woman came by the gallery with some art

she wanted to sell. She told me, “these are some pieces I

stole 13 years ago.” She had no idea who the artist was or

where he lived. The three colour drawings she left with me

were signed with fictitious names like Mazerlight and

Angelheart. The 39 large vellums, 24 x 36 inches, were all

signed A. G. Rizzoli. I began to read the text in the vellums.

There was mention of a family named Jose with reference

to a child that died at five. I found a Jose in the phone

book and cold-called the number. The family did have a

child who had died and when they checked the funeral

guest book, they found that Mr Rizzoli had signed it.

Eventually these “cold calls” and clues led me to Rizzoli’s

great-nephew.

The great-nephew who lived in the Bay Area

remembered that his mother, Rizzoli’s niece, invited him

for holidays. He said he had his uncle’s “stuff” in his garage.

There was artwork glued to redwood panels. Shirley’s

Temple hung over the washing machine in a glass-less

frame. I told the nephew that I wanted to take the artwork

and make a market for it. He told me that he could take it

down to the schoolyard fence and sell it. I prevailed and

contracted with him to handle Rizzoli’s estate.

There are parallels between Maldonado and Rizzoli.

Each was the youngest son of five. Their families migrated

to the United States and settled in San Francisco. They

lived in cottages on either side of the same hill. They lost

their fathers as teens. They never married and lived with

their mothers until they died. Their artwork created better

worlds – Rizzoli through hallucination and Maldonado

through imagination.

RK How did you find artists to show in the gallery?

BG When my husband Sy attended medical conventions

we always planned a few days to explore and look for new

artists. Our frequent buying trips to the South, East and

Mid-West were always exciting. Meeting and spending

time with many well-known artists, Howard Finster, William

Dawson, James Harold Jennings, Georgia Blizzard, Mary T.

Smith, Elijah Pierce and Raymond Coins among them, were

great adventures.

RK What were the first things in your collection?

BG I started with old medicine bottles and packages. I was

21RAW VISION 88

opposite:

Bonnie Grossman at the

Ames Gallery by her

bottle collection

clockwise from far left:

A. G. Rizzoli, Shirley’s

Temple, Barry Simmons,

Creatures, and Dwight

MacIntosh, Three Figures

intrigued by the funny cures they promised and thought

they would be great displayed in Sy’s office (Sy retired

after 30 years as a physician). They never made it to his

office and instead fill a large cabinet in the kitchen. My

interest in household utensils began with a handmade

wooden lemon squeezer. Soon, I had three and a collection.

RK Do you think that the Outsider Art scene has changedover the years and where do you think it is heading?

BG I think that it is hard to come back to the original

intent of the term “Outsider”. I tend to abandon titles. I find

they are so abused that they become useless. I prefer to

present work and talk about the art and artist without any

labels. I believe that every artist is self-taught. The art

market needs to seek a younger audience and find out

what interests them. Everyone is a collector whether it is

matchbook covers or balls of string. The collectors that I’ve

known over 45 years have aged out of collecting. We have

to find that “something” that wins over new audiences.

RK What’s next?

BG That’s a good question, and I don’t have an answer yet.

I‘ve had a very colourful and rich life. I’ve been a

kindergarten teacher, produced and co-produced

television shows, and consulted and “starred” in others. I’ve

curated a gallery, served on Museum advisory boards,

organised fundraisers and I’m a wife, mother and

grandmother. Now I am ready to sit back and enjoy what

has been.

ALMOST CERTAINLY, THECATALOGUE RASIONNÉ OF THECREATOR(S?) KNOWN AS JJ BEEGAN

RAW VISION 8822

Little is known about the asylum artist(s)

known as JJ Beegan, whose drawings made

using charred matches on institutional

toilet paper, or using stubs of blue pencils on

pages torn from The Works of Robert LouisStevenson, Volume VI, have been recognised inseveral exhibitions and a book since the 1950s.

These works came out of Netherne Hospital in

Surrey, UK, where the father of art therapy,

Edward Adamson (1911–1996), collected and

promoted patients’ artworks.

British long-stay mental hospitals were

challenging places after World War II, having been

starved of staff and resources. Physical treatment

such as electric convulsive therapy, insulin coma

therapy and brain operations – the infamous

lobotomy – were widely used. Antipsychotic

medication only became available in the early

1950s. However, a few asylums had started

unlocking some of their doors in the late 1930s,

known as the “open-door movement”, and

progressive social, creative and occupational

interventions were emerging.

In the 1920s and 1930s, particularly in the

USA, Henry Cotton’s “theory of sepsis”, that

schizophrenia and other serious mental illnesses

were caused by infection hidden in the body, led

to people having at least their teeth removed,

progressing to major surgery removing the

appendix, spleen, large bowel, testicles or ovaries

for some. Death rates from these operations were

high, and though the practice fell into disrepute

in the late 1930s, residents at Netherne when

Adamson started leading art sessions in 1946

might have undergone these procedures earlier

in their decades-long admissions. Many patients,

23RAW VISION 88

By DAVID O’FLYNN

A chance re-discovery in the Adamson archives saw the entire life’sexpression of one inmate realised in a handful of works

their teeth removed, would have shared “ward

teeth”: dentures kept in a jar of disinfectant until

meal times. In his book, co-authored with his

collaborator and partner John Timlin (b. 1930), Artas Healing (1984),

Adamson describes his first visit, where,

having passed through long corridors and many locked and re-locked doors, I was ushered into a large hall containing about 100 people... Many of the inhabitants underwent major brain operations, and consequently many were shaven headed. Others were swathed in bandages and were disfigured by post-operative bruises and black eyes.

Adamson was key in developing art therapy as a

profession from the early 1940s. By the mid-1970s

he was distanced, disagreeing with the

profession’s interest in psychoanalysis. He

believed that the act and gesture of creating art is

therapeutic, and that only what is known about

the creator and what the creator says about their

work matters.

In his 35 years at Netherne, Adamson

collected around 100,000 artworks, about 5,500 of

which remain as the Adamson Collection. The

Adamson Collection left Netherne with Adamson

in 1981 to be housed by the British scientist

Miriam Rothschild in East Northamptonshire, until

its move in 1997 to Lambeth Hospital, London.

Given the need for conservation and preservation,

and access by researchers, curators and the

public, the Adamson Collection Trust (ACT)

transferred 2,500 works by around 200 people to

London’s Wellcome Library between 2013 and

2015, as well as the archives of Edward Adamson

and ACT. ACT still holds about 500 sculptures in

flint, ceramic, bone and cement.

All of JJ Beegan’s known works are in the

Adamson Collection and reproduced here:

13 drawings, and two more reproduced in Art asHealing of which the originals are lost. Alsoreferenced here are the known sources, the book

and three exhibition catalogues.

So, now the mythology. In 1946, the same year

Jean Dubuffet coined the phrase art brut,

images, all courtesy of Adamson Collection / Wellcome Library

Graffiti on Lavatory Paper 1 (detail), undated (c. 1946),

match char on three sheets of Izal Medicated Toilet Tissue,

4.5 x 18 ins., 11.5 x 45 cm

As AVAM celebrates its 20th anniversary, Raw Vision’s editor JohnMaizels talks to the museum’s inspired founder and director,

Rebecca Alban Hoffberger

John Maizels Founding the American Visionary Art

Museum is an amazing achievement. What was your

initial impetus and inspiration for the creation of AVAM

and how did you feel it should differ from the

Collection de l’Art Brut, which was the main museum

of stature in the field of Outsider and self-taught art?

Rebecca Hoffberger In 1984, I was working with a

programme founded to give people with histories of

mental illness the work and living skills to live

independently. It made me realise just how terrible

narrow labels for human beings were, how complex

and wonderfully individual we all are, and what a

challenging gauntlet life is in general. As a firm

believer in intuition being the essence of all manner of

creative genius, I had an idea for a museum based on

its fruits in broad spectrum manifestation – art,

science, engineering, humour, social justice – invention

in multiple realms – garnered from earth’s most

remarkable “evolutionaries” – historic and living.

More knowledgable folks than I then said, “That

kind of art sounds a lot like Dubuffet’s Art Brut

Museum.” So I wrote to the fabulous Genevieve Roulin

and Michel Thévoz and got permission to make a short

documentary on that gem of a museum with my

friend, filmmaker Donna Matson. Visiting there, I was

fast smitten with the honesty and fierce imagination

of the art and adored the artist bios that were far more

interesting than those in traditional museums.

My co-founder, ex-husband and close friend, LeRoy

Hoffberger, is an avid collector of German

Expressionists, and he saw great value in my assertion

that art brut was a profound source of inspiration for

the Expressionists and many artists hungering for

artistic authenticity. But from the start, I never wanted

AVAM to be simply an Outsider Art museum. I feared

primary emphasis on art as object – even rare fabulous

works – would minimise the actual vision that lay

behind what powered this intuitive art that had so

much to say. I then saw repeated thematic patterns in

the world's various collections of Outsider Art – the

one most striking was the idealistic recreation of some

personal, backyard Eden.

Our inaugural 1995 exhibition was thus “The Tree

of Life”, but in truth I had also picked the first eleven

themes before our doors even opened. We have stuck

to that formula of thematic shows that explore with

our visitors the very big perplexing themes that have

fascinated both the outsider artists and humanity's

greatest visionaries throughout time. I did not want a

museum that would be driven by the art market. I

gambled on a format that would show works by one-

off and total unknowns right next to the top stars of

visionary art under a unifying thematic banner spiced

by equally visionary quotes, lyrics, scientific factoids,

humour, related social justice issues, and fun. With

20 YEARS OF VISION

RAW VISION 8830

Exterior view of the west facade of the

American Visionary Art Museum,

showing wall with mirror mosaic

modest monies, we eventually created a 1.1-acre

urban campus with world class architecture, 67,000-

sqare-feet under roof, two sculpture gardens, and

resulting high rankings among the world’s top

museums of any kind. Hard won, the success of the

past 20 years has been a joyous miracle.

JM What was the particular emphasis you wanted for

the museum and how did you see its role in the

community which has been very important aspect?

RAH AVAM was designed to embrace “layers of good”.

The glittering exterior mosaic walls are also America's

largest mosaic-apprenticeship programme for youth-

at-risk and incarcerated teens; three of our staff first

came to us directly from the homeless shelter; and our

Founding Seven Education Goals are used by

educators around the world and were appropriated

verbatim to found the fabulous NYC Lower East Side

Girls Club. Ultimately I believe, creative acts of social

justice constitute the very highest form of artistry in

that one has to be supremely creative to make lasting

social change. AVAM has been called a very healing

place, and again that speaks to creating a muse-

oriented Muse-um and not simply a mausoleum for

objects. I thought it too late in the world to simply

birth a new embroidery on a cult of things and that

visionary art itself deserved a museum as fresh

thinking and fiercely dynamic as the best of the art.

JM AVAM has received terrific support. You’ve been

able to develop and expand the museum over the

left:

Exterior of the Jim Rouse

Visionary Center, named

after the late, inspirational

social visionary. It

emphasises AVAM’s

commitment to the belief

that, “Creative acts of

social justice are life’s

highest and best

performance art.” In the

foreground is Cosmic

Galaxy Egg by Andrew

Logan. Photo: Jack

Hoffberger

All other photos:

Dan Myers

below:

Rebecca Hoffberger,

Founder and Director of

the American Visionary Art

Museum, Baltimore

31RAW VISION 88

Deliverance is a theme that is often sounded in

poetry, reggae music and other forms of popular

culture in Jamaica. A reflection of an abiding hope

for positive change – political, economic, social – and for

justice and prosperity for all, it is rooted in teachings that

are associated with Rastafarianism. Indigenous to Jamaica,

Rastafarianism is a religion whose adherents worship the

late Ethiopian emperor Haile Selassie I (1892–1975) as a

deity and smoke marijuana as a ritual practice.

Its messages about redemption and deliverance,

mixed with positive-sounding declarations about peace,

brotherhood and understanding, provided some of the

inspiration for the self-taught Jamaican artist Mambee’s

mural, seen here, which he began painting several years

ago on an exterior wall of one of a group of simple,

concrete-block houses in a poor section of Kingston.

Located on the southern coast of the island, Kingston is

Jamaica’s dusty, traffic-choked capital. Today, many of its

older, downtown neighbourhoods are physically run-down

and have become centres of hardship. In them,

In a gang-ravaged Jamaican neighbourhood, an artist offers symbols of hope

A HEROES’ WALL

unemployment is high, and residents often live in fear of

violence from armed, rival gangs affiliated with the

country’s two main political parties.

Speaking in thick Jamaican patois, Mambee explains

that, as his colourful project progressed, passers-by would

ask him, “Wa mek yu dweet fa?” (“Why did you make it?”).

He says that, in the face of the dispiriting poverty and

violence that had long plagued his neighbourhood, he

wanted to create something attractive that would enliven

a nondescript wall and convey a positive, aspirational

message to the community.

Embellished with decorative patterning, Mambee’s

“Heroes’ Wall” depicts a wide range of historical African

statesmen, as well as cultural figures and freedom activists

from the world’s broader African diaspora. Across the

street from the small plaza his mural faces, Mambee also

painted a street-long wall. There, his peace message is

more direct. In big, plain letters, it says, “Stop the war and

killing. A part of you is a part of me.”

Edward M. Gómez

37RAW VISION 88

Historical figures depicted in Mambee’s (below right) mural include the Haitian-independence hero Toussaint Louverture, various African kings, ancient

Egyptian pharoahs and queens, the Jamaican political and black-nationalist leader Marcus Garvey and many others

By SHAHEEN MERALI

THE STORY SCROLLSOF BENGAL

Just as none of us is outside or beyond geography, none of

us is completely free from the struggle over geography. That

struggle is complex and interesting because it is not only

about soldiers and cannons but also about ideas, about

forms, about images and imaginings. (1)

Madhu and Hazra Chitrakar are artists based in

the State of Bengal, East India. “Chitrakar”

translates as “image maker”, and they are

primarily self-taught – or, more precisely, taught within

the lineage of family tradition, for their parents and

grandparents would have also been Chitrakars and

viewed as outsider artists. They are itinerant patua

artists, whose pictoral stories are told with pigment on

long scrolls. The stories traditionally revolve around

common myths about gods, goddesses and epics that

are re-told in different places, as they journey around

the state. Either Hindu or Muslim, they occupy a

marginalised status, forced to live on the outer fringes

of their villages in rural Bengal. They are considered to

be of the Hina by the upper-caste Hindus, which is a

very lowly artists’ profession similar to the Muslim

patnas. However, they are further reviled by orthodox

Muslims for painting and singing in praise of Hindu

gods, god desses and mythology. Madhu, a Muslim

with a Hindu name, is typical of this unusual social

phenomenon.

The Chitrakars work in the traditional mode of

wandering minstrels, a medieval tradition in which a

singer from an artisanal family sings of events or

myths with the accompaniment of a long, narrative

scroll for the masses or performs in isolated villages.

The full-sized scrolls are always accompanied by

smaller works that portray singular figures from

mythology, providing the opportunity to sell to the

domestic, pedestrian market. The best-known

drawings and paintings of nineteenth-century Bengal

are the Kalighat Pats, created by village-based clay

modellers and painters who settled in the vicinity of

the famous Kali Temple of Kalighat in Kolkata.

Increasingly, the Chitrakars’ work has been collected by

their audience as well as other buyers and collectors

who are beguiled by the singular humour, artistry and

vibrancy.

RAW VISION 8838

The ancient craft of illustrated story-telling is going strong in Bengal with a new generation of travelling narrators

below: 9/11 (detail)

All works shown are by Madhu and Hazra Chitrakar,

vegetable pigments on paper (with cloth backing)

Notes1. Edward W. Said, Culture and Imperialism, New York: Knopf, 1993,

p. 7.

2. Jacques Derrida, Memoires: for Paul de Man, trans. Lindsay,

Culler, Cadava, & Kamuf, New York: Columbia University Press,

1989, p. 35.

3. Jean Dubuffet, “Art Brut preferred to the cultural arts”, essay for

the catalogue L’art brut préféré aux arts culturels, Galerie René

Drouin, Paris, 1949.

A PIONEER IN OUTSIDERPHOTOGRAPHY

RAW VISION 8846

Within the broader world of Outsider Art, a

specialised area of research and investigation

has begun to emerge, one that examines photos

made by self-taught photographers. It is still too early to

tell if it might take off and spawn an active, new field

among collectors, but recently some examples of the kinds

of works on which it focuses have surfaced at art fairs and

other venues.

In the United States, the American John Brill is an

emblematic creator of what is becoming known as

“Outsider Photography”. Like makers of other forms of

Outsider Art, Brill, who is 64 years old, is completely self-

taught in the use of the equipment, materials and

techniques he employs to produce his photographic

works. Based in New Jersey, where he was born and grew

up in a large, Italian-American family, Brill obtained his first

camera, which was made of Bakelite plastic and used 620-

size roll film, when he was eight years old.

He did not go to art school but instead

attended Colgate College in central New

York State, where he earned an

undergraduate degree in physiological

psychology. His training in that subject

area, he explained in a recent interview,

“was rooted in an empirical, scientific point

of view.” He said, “As I’ve gotten older, I

haven’t jettisoned that empirical approach

but I have augmented it with introspection.

Now, with age, everything does not appear

47RAW VISION 88

opposite:

Ecstasis, 1999

selenium- and sulfide-toned silver print

(edition of ten)

image 6.75 ins., 17.1 cm diameter

paper 11 x 14 ins., 27.9 x 35.6 cm

right:

Plasma, 2013

pigment print on rag with UV-shielding

varnish

image 5 x 4.5 ins., 12.7 x 11.4 cm

sheet 8.5 x 11 ins., 21.6 x 27.9 cm

framed 13.25 x 12.25 ins., 33.7 x 31.5 cm

By EDWARD M. GÓMEZ

John Brill, a creator of mysterious, dreamy images, represents an emergingfield in the world of self-taught art-makers

to be either/or. I’ve learned that a lot of what one sees in

the world has to be viewed along a continuum.”

That more expansive way of observing his

environment and finding ambiguity in it may well be

reflected in the mysterious, imprecise, curious

photographic images Brill creates. Often ghostly or

enveloped in light-saturated mists or shape-shifting

clouds of light, the vaguely recognisable human faces or

bodies that appear in his pictures are the most fleeting of

subjects. Like snapshots of a dream world, his photographs

seem to document the ineffable. Their unusualness in

some ways parallels Brill’s own outsider status, which he

acknowledges and seems to embrace.

Describing himself as “someone who had authority

problems and could never fit into any structured job”, Brill

nevertheless spent many years after college driving a

beer-delivery truck. He enjoyed the work and often, along

By ALLA CHERNETSKA

Myths and histories in the paintings of Gérard Lattier

STORYTELLER OF HUMAN DESTINIES

50 RAW VISION 88

Gérard Lattier’s (b. 1937) paintings are often

referred to as naive. They possess some

features of folk art, with the apparent influence

of archaic medieval miniatures and ex-voto, but the

stories told and painted by Lattier are far from naive.

They tell us about human values: good and evil,

disasters and catastrophes, injustice and forgiveness.

Based on human tragedies and the search for

happiness, there are three key periods in his life that

can be examined.

The first started with a series of tragic events that

determined his destiny, and to some extent formed his

outlook on reality. As a child, Lattier fought a

dangerous case of encephalitis, winning a rare victory

against the disease. His father worked at the local train

station and during World War II, died on 27 April, 1944,

in the US-led Allied bombing of pont de Diable in

Nîmes. Left without a father and husband, Gérard and

his mother were not only psychologically traumatised

but also had to endure the stigma that accompanied

their statuses of orphan and widow. Much later, in his

painting Lenga muda (Mute language), Lattier declared

his reluctance to be silenced about the humiliation his

mother suffered when the society that had killed his

father controlled her lifestyle through social workers.

Intertwining the story of Jean Jaurès, the socialist

leader and director of L’Humanité magazine who was

assassinated for his political convictions, and Lattier’s

mother’s enforced silence as a widow, the artist

confronted the moral injustices of society.

51RAW VISION 88

opposite:

La Bête en Gloire, 1989–93, 35.4 x 51.2 ins. / 90 x 130 cm

photo J.-L. Meyssonnier, artist’s collection

above:

Lenga muda, 1980, 35.4 x 51.2 ins. / 90 x 130 cm

photo P. Mory, private collection

All works are gouache on marouflage (canvas mounted on wood) unless otherwise stated

Lea Cummings, ALTAR-ER (detail), coloured pen on cardboard skeleton, approx. 5 ft 3 ins. / 1.60 m

PROJECT ABILITY,SCOTLAND

Since 1984, the Glasgow-based visual arts organisation

Project Ability has offered expert tuition to people

with disabilities and mental ill-health of all abilities

who want to make art and express themselves creatively.

Over the past 30 years, an inclusive, positive and accessible

environment that focuses on the attendees has been

created, where artworks are shown and sold.

The organisation runs three main programmes: Aspire, a

workshop for adults with learning disabilities; ReConnect, a

programme for adults with experience of mental ill-health;

and Create, which caters for budding artists with disabilities,

aged five to 28. Some funding comes from central and local

government, and there is support from numerous trusts and

foundations. To round it off, participants in the programmes

pay a weekly charge to attend.

Every week between Monday and Saturday, about

250 people use the studios and the professional materials

and tuition that are provided. The large, open-plan studio

in Project Ability’s headquarters at Trongate 103 has a

community feel and is an ideal setting in which to work.

Hundreds of artworks are produced by their participants

each term, much of which is professionally exhibited. The

RAW VISION 8858

opposite: John Smith, Lots of Monkeys, 2015, pen and acrylic on canvas,

27.6 x 23.6 ins., 70 x 60 cm

all photos Bérengère Chabanis

organisation has other community venues around the city,

and works with agencies that support people with

disabilities and mental illness around the UK.

Participants can exhibit in the gallery space at

Trongate 103, where Project Ability’s highly-acclaimed

exhibitions are held. They have been involved in

international exhibitions around Europe and as far afield

as Japan, Australia, America and Canada. Project Ability

also organised the International Summit for Learning

Disability Artists and their Support Studios at Trongate 103

in March 2015, which ten international studios attended.

Project Ability offers a volunteering programme for

students and graduates, and recent volunteer Ian McAulay

described his experience: “I would recommend any artist

to volunteer at Project Ability. It is a wonderful

opportunity, the facilities are very good, it’s a fantastic

RAW STUDIOS

59RAW VISION 88

Project Ability, 103 Trongate, Glasgow G1 5HD, Scotland

www.project-ability.co.uk

Ceramic work in progress (Cauliflower) by Cameron Morgan, 2015Aspire workshop

learning curve and, most importantly, you get to work with

some incredible people.”

Project Ability is dedicated to offering a first class

service to everyone who attends their classes. Some

people have been attending the workshops for over

20 years, and they remain as eager to create as ever. The

culmination of Project Ability’s efforts is a unique, inclusive

and positive experience for the artists, tutors and

volunteers artists who make up a community where

everyone has the opportunity to flourish.

Nuala Ernest

ART BRUT IN AMERICA: THEINCURSION OF JEANDUBUFFET

American Folk Art Museum, New YorkOctober 13, 2015 – January 10, 2016

Over the years, museums and galleriesin the United States and other parts ofthe world have presented numerousmemorable, substantive exhibitions ofart brut and Outsider Art. However,perhaps no presentation of this kindof art that has been seen in the U.S. inrecent years has been as illuminatingand historic as “Art Brut in America:The Incursion of Jean Dubuffet”.

Organised by Valerie Rousseau,AFAM’s curator of self-taught art andart brut, it features some 200 worksthat have been loaned by theCollection de l’Art Brut in Lausanne,Switzerland. That museum, the first ofits kind in the world, was founded in1976. The core of its collection camefrom the French modern artist JeanDubuffet’s own holdings of worksmade by visionary autodidacts whosecreations he had dubbed “art brut”(“raw art”). This exhibition exploresthe description of this art genre thatDubuffet elaborated and put forth inthe 1940s.

It also examines the impact of atalk he delivered in Chicago in 1951,

of just over a decade, during which heplaced it with his friend, thePhilippine-American abstract painterAlfonso Ossorio, who displayed themin his home on Long Island, near NewYork City. There, he showed them tohis associates in the art world, like thepainter Jackson Pollock.

Examining exactly what,historically and essentially, art brut

in which he championed the anti-mainstream aesthetic values he sawreflected in the works of the mostoriginal art brut creators. (He calledthem “auteurs”, preferring the Frenchword for “author” or “creator” insteadof “artiste”.) This idea-rich showrecounts the history of the earlydevelopment of Dubuffet’s art brutcollection; it also looks at the period

60 RAW VISION 88

Robert Gie

R AW R E V I E W S EXHIBITIONS

61RAW VISION 88

R AW R E V I E W SEXHIBITIONS

was and is, this exhibition includessuch works as a head made ofseashells by the mosaic-maker Pascal-Désir Maisonneuve (1863–1934), ink-on-paper drawings of fantasy figuresby Gaston Chaissac (1910–1964), andemblematic drawings in pencil andcoloured pencil on paper by AdolfWölfi (1864–1930) and in colouredpencil and other media on paper or

cardboard by Aloïse Corbaz(1886–1964). Some of the unusualpieces on view, which Dubuffet hadamassed, include chunks of flint orstone found and painted by Juva (theartist’s name of an Austrian princewho was born in 1887) and talisman-like objects made of paper, plantfibres and string by “Jean Mar” (JeanMarchand, 1828–1911), who suffered

from megalomania and neverexplained the meanings of hisabstract creations. There is much morein this eye-opening exhibition, whichboth implicitly and explicitly exploresjust what constitutes art brut and thedistinctive aesthetic character ofcreations that can properly beassigned that label.Edward M. Gómez

Aloïse Corbaz

Adolf Wölfli

Jeanne Tripier

August Forestier

Gaston Chaissac

Marie-Rose Lorter at Marie Finaz

Robillard at Nicaise

Thornton Dial

Alfred Wallis at England& Co

62 RAW VISION 88

THORNTON DIAL: WORKSON PAPER

Marianne Boesky Gallery118 East 64th StreetNovember 5 – December 19, 2015

88-year-old Thornton Dial has, overthe last 30 years, solidified hisposition and importance in theAmerican art canon, often strugglingagainst an institution that isoverwhelmingly white and collegeeducated. He has transcended thespace between “Outsider” and“mainstream” art, calling thelegitimacy and necessity of bothcategories into question. His recentrepresentation by Marianne BoeskyGallery, and subsequent exhibition“Thornton Dial: Works on Paper”,signals a broader shift in how weperceive the distinction betweenOutsider and mainstream art, adivision that is increasingly porous.

Rather than the imposing, dense,colourful assemblages, paintings, andsculptures by which Mr. Dial has cometo be known, the gallery chose toshow his lesser known drawings andwatercolours. These works, whichwere created between 1990 and2008, are softer and subtler than theirmonumental counterparts. Thedrawings are rendered in palegraphite washes on stark whitebackgrounds with infrequent blushesof blue, green, and yellow in ghostlyconte crayon. The watercolours are, incomparison, electric, often filling theentirety of the paper with areas ofsolid colour. In both, graceful,undulating lines carve out figuresfrom the ether, mostly women, tigersand birds, performing tasks that spanfrom mundane to mythical.

In two works from 1996, Holdingthe Peace and Holding up the Peace,two women grasp at a fluid, slipperyform that signifies the titular concept.

It appears to be just on the verge ofescaping their hold, the women’sfaces contorted by the struggle tocontain it. Another work, True Peopleis made up of the disembodiedheads, screaming out in a basic,universal, existential terror that liesjust below the surface of the selveswe display on a day to day basis.Several works show tigers, which Dialhas consistently used as a symbol ofblack struggle and resilience, tangledup in various knots with humans withno clear end or resolution to thewrestling match.

Accompanying these grandallegories are more quotidian scenes.A man and a woman in theforeground of Jealousy engage inwhat might be an act of eitherintimacy, rage, or lasciviousconversation while a second manexits the frame. A swirled,discombobulated figure with openmouth and upturned eyes in A LadyTrying to Straighten Out Her Ideasscratches her head and writhes inanxiety. Two women, one holding anAmerican flag, the other, a flower, lookonward stoically in another work.

In these works, Dial places grandand quotidian on similar scale,renders them in the same lines,colours, and forms. As a result,fantastical narratives becomerelatable, and daily comings andgoings attain an air of magic andmyth. It is for this ability, to lendattention to the overlooked and tomake large concepts digestible, thathe has been continually celebrated,an ability which is certainly ondisplay in the current show. Paul Brown

PARIS OUTSIDER ART FAIR

Hotel du Duc, ParisOctober 22–25, 2015

This October, the third instalment ofthe Paris Outsider Art Fair took placeat Hotel du Duc in the centre of thecity. The Fair brought together 38galleries and projects selling andpromoting the work of outsiderartists, with some big names takingpart for the first time this yearincluding New York’s Ricco MarescaGallery and London’s England & Co.

Pieces by Bill Traylor, MartinRamirez and George Widener –classic, renowned outsider artists –were shown along with work byemerging artists from all over theworld. For example Shinya Fujii, aJapanese artist whose intricate inkworks were showcased by Outside In

(UK). Australia was represented forthe first time this year by Sydney’sCoo-ee Aboriginal Art Gallery, andthe Creative Growth Art Centershowcased an impressive array ofpieces by the artists it works with inits professional studio space inCalifornia. Moscow’s Art Naive Galleryrepresented Russia this year, theGaléria in Budapest brought works byHungarian outsider artists, and theParis-based Halle Saint Pierre openeda pop-up bookshop, selling literatureon Outsider Art and its context in theart world.

Alongside the stalls, there was aspecially curated show featuring thefantastical ceramic creatures ofShinichi Sawada, who has spent themajority of his adult life living at theRitto Nakayoshi Sagyojo institute inJapan where he divides his timebetween working in the sculpturestudio and in the hospital’s bakery. Apanel discussion focusing onsexuality in the work of Eugene VonBruenchenhein, Henry Darger,Aloïse Corbaz and Miroslav Tichý

R AW R E V I E W S EXHIBITIONS

32

Ben Wilson,Inner Architecture,Fasanella, Phase 2,Fryar, Gordon’s Patio

Roger CardinalBentivegna,La Tiniaia,Grgich,Collis, Ray Morris

Sudduth BurgessDulaney, St EOM,Mouly, Dulaney, MrEccles, SPACES

Nek Chand, Finster,Valton Tyler, Lara-Gomez, P.Humphrey,War Rugs, Lonné

Van Genk, PurvisYoung, Marcel Storr, RA Miller, MadgeGill, Makiki

Watts Towers, BessyHarvey, Marginalia, F. Monchâtre, Tree Circus

Palais Idéal, J. Scott,Charles RussellDonald Pass,Outsider portraits

Dr. Leo Navratil, IlijaBosilj, SimonSparrow, MelvinWay, Pradeep Kumar

Rio Museum,Voodoo,Carvers ofPoland, Naïves ofTaiwan, E. James

G. Aiken, Junkerhaus,Kurt Haas, PLancaster, MinnieEvans

Boix-Vives, FredSmith, RosaZharkikh, DonaldMitchell

Thornton Dial,Richard Greaves, Martha Grunenwaldt

Theo, Jane-in-Vain,Janet Sobel, LanningGarden

Salvation Mountain,Yoakum, DosSantos, ScottishOutsiders, Bartlett

Ossorio, Irish Naïves,Nick Blinko, Ray Materson, LeCarré Galimard

Adolf Wölfli, Art CarsZeldis, AlbertLouden, CellblockVisions

Y5/P5, Chomo, Arning, Leonov,Kaiser, The TarotGarden, Gene Merritt

Mary Proctor, CarloZinelli, Dernier Cri, Art Brut, Jersey Shell Garden

Picassiette, Benefiel,Vodou, Dellscahu,Mediumistic, VanGenk

Mary T Smith, deVilliers, Matt Lamb,Old Curiosity Shop,Mithila Painters

Robert Tatin, N-M Rowe, McQuirk, Denise Allen,Freddie Brice

William ThomasThompson, AlfredWallis, Johnny Meah,Michael Rapanakis

von Bruenchenhein,Imagists, Monsiel,McKesson, Mabussa,Vahan Poladian

Joe Coleman, MinnieEvans, Seillé, Peploe,Papa, CanadianEnvironments

Gugging, Art &Psychiatry, Traylor,M-J Gil, De Stadshof,Margaret’s Grocery

Darger, R/stoneCowboy, Thévoz:Chiaroscuro, PearlBlauvelt, Bressse

William Hawkins,Expressionism andInsanity, GiovanniBattista Podesta

Finnish Outsiders, Sylvain Fusco, Roy Ferdinand

Hung Tung,Photography, Bernard Schatz, Jessie Montes

Mammi Wata, Fred Ressler, Mary Whitfield,Isaiah Zagar

Ivan Rabuzin,Czech Art Brut,Sunnyslope,Prophet Blackmon

Hamtramck Disney, Roger Cardinal, KenGrimes, CriminalTattoos

Eli Jah, Singleton,Marie-Rose Lortet,Ross Brodar, Catalan site

Toraja Death Figures,Chauvin SculpturesJosef Wittlich,Nigerian Sculpture

August Natterer,New Gugging,George Widener,Paul Hefti

Burning Man,Matsumoto,Nicholas Herrera,William Fields

Maura Holden,Clarence SchmidtR.A. Miller, HansKrüsi, Silvio Barile

Lobonov, Zindato, JB Murray, Anthony Jadunath,Seymour Rosen

Emery Blagdon, ZBArmstrong, Bali,Imppu (Finland),Mari Newman

Alex Grey, Lacemaker, Luna Rossa, Sekulic,Uddin, Mary Nohl

La Cathedral,Hauser, Norbert Kox,Zemankova, AnitaRoddick, Laffoley

Tom Duncan,Movie Posters,Spanish Sites, RosaZharkikh

S.L. Jones,Kevin Duffy,Frank Jones,Charles Steffen

Howard Finster,Michel Nedjar,James H Jennings,Rosemarie Koczy

Joe Coleman,Harald Stoffers,Elis F. Stenman

Speller, Norbert Kox,Haiti street artBF PerkinsDamian Michaels

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Philly/K8, Sefolosha,Palmer, Belardinelli,Ludwiczac, Oscar’ssketchbook

66

Renaldo Kuhler,Sonabai, OutsiderFilms, Giov Bosco,Finster/Ginsberg

67

Paul Amar, PhyllisKind, D.M. Diaz, W.Dawson, Joe Minter,Survivors, Martindale

68

Colin McKenzie,Eugene Andolsek,Surrealism/Madness,INSITA, Churchill D

69

Electric Pencil,Gugging, JJ CromerRiver Plate Voodoo

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Mario Mesa, TimLewis, Joel Lorand,Chelo Amezcua,Clayton Bailey

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Sam Doyle,Myrtice West,Lost In Time,Romanenkov

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Art & Madness,Lee Godie,Palace Depression,Saban, Benavides

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Masao Obata, TakeshiShuji, HenrietteZéphir, John Toney,Edward Adamson

72

Dalton Ghetti, Art &Disability, DanielleJacqui, Andrei Palmer,Mingering Mike

73

Henry Darger, PeterKapeller, NadiaThornton Dial, Belykh

74

August Walla, AdolfWölfli, Antoni Gaudi,Tim Wehrle, FrankWalter, Art & Therapy

CJ Pyle, AloïseCorbaz, MrImagination, JohnDanczyszak

76

Martin Ramirez, BruceNew, StephanieLucas, Ellen Greene,Art in Houston

Mark Beyer, HowardFinster, VeijoRonkkonen, AlexisLippstreu

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Alex Grey, HiroyukiDoi, Josef Karl Radler,Ferdinand Cooper,Patrick Joyce

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Prophet IsaiahRobertson, Schröder-Sonnenstern, MadgeGill, John Gilmoour

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Andre Robillard,Johnny Culver, LubosPlny, Arte Bruta,Donald Pass

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Bill Traylor, Art BrutToday, Meta Doodles,Billy Tripp, Gugging,Zoran Tanasic

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Dernier Cri, ReiKawakubo, Bonifacio,Blackstock, St. EOM,Porret-Forel

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Julian Martin, RonaldLockett, SolangeKnopf, Larry Lewis,Emma Hauck

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Nek Chand, JohannFischer, Judith Scott,George Ehling,Spanish Environments

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Howard Finster,Gerard Sendrey,Aleister Crowley,Dominic Espinoza

86

Madge Gill, Jean-Pierre Nadau, DavidBest, JamaicanIntuitives

87