On the front page of the New York Times Book Review, artist Red Grooms once exclaimed that grassroots artists "are so interesting I can scarcely keep them out of my dreams—visionaries who turned their visions into art on a grand scale even though they had no training in art." In this lavishly illustrated volume, the authors illuminate and celebrate these "backyard visionaries" and the remarkable works they've created in the Midwest.
Grassroots art (sometimes referred to as "outsider art") has been variously described as "eccentric," "unschooled," "self-taught," "primitive," and "raw." Such art is characterized by the use of common, unconventional, or castoff materials; hodge-podge styles; ambitious scale; whimsical expression; and a creative impulse concerned more with the artist's own pleasure than with the critical reception of the work itself.
The authors here focus on examples of grassroots art environments—which include sculptures, paintings, and assemblages—in Kansas, Nebraska, Iowa, Missouri, and Oklahoma. They reveal the special character and unexpected delights of works like Samuel P. Dinsmoor's world-famous "Garden of Eden"; Claude Melton's quirky "Nativity Rock Museum"; Ed Galloway's fabulous six-story "Totem Pole" honoring Native Americans; and Dave Woods's idiosyncratic creations refashioned from "junk that most people would haul to the dump."
Written by members of the Kansas Grassroots Art Association-the oldest organization in the country dedicated to preserving such sites—Backyard Visionaries describes the authors' personal experiences of the artists and their work as well as the artists' cultural contexts and influences. More than 150 photographs—many in color—capture their unusual creations, and a chapter on preservation tells how we can help maintain them. All in all, this is a fascinating tribute to a group of artists that we are only just beginning to understand and appreciate.
Technology and the Visual Arts in the Nineteenth Century
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
Abstrakter Expressionismus (Abstract Expressionism, Dt.). Der Triumph Der Amerikanischen Malerei