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The Good Luck Gallery, Los Angeles

until February 24, 2019

Composed using coloured pencil and graphite, Helen Rae creates dense, profoundly fractured drawings. Working out of First Street Gallery – a  progressive art studio for adults with developmental disabilities, now in Upland, California – for the last 30 years, Rae utilises fashion magazines as a point of departure. The Good Luck Gallery welcomes Rae back for her third solo exhibition.

The Good Luck Gallery
945 Chung Kind Road, Los Angeles, CA 90012

Ricco/Maresca Gallery, New York

until March 9, 2019

"Alfred Neumayr: Mythical Creatures" showcases work by Neumayr, primarily created with Indian inks or pencil – which the artist applies and scratches out, thins down or mixes. The resulting images resemble geographical formations, photos from outer space, fantasy worlds or mythical creatures.

Ricco/Maresca Gallery
529 W 20th St, New York, NY 10011

From Ricco/Maresca's website:

When you ask Alfred Neumayr about the meaning of his art, he will reply that he draws nothingness. What is nothingness? To Neumayr nothingness is the origin. It can be everything at once, like the Nirvana, a simple object, or the universe, nobody knows. But it is not to be confused with nothing. To him, it is all about movement, the artistic activity itself. The incredibly disciplined draftsman reveals that first and foremost he needs to keep busy: “I don’t really like to call myself an artist, it’s a funny term,” he says: “I’m here to do something meaningful. Simply put, it’s movement what I do. I also move when I run; when I draw I move myself and the pen and turn one thing into another. Pen and ink and paper metamorphize into a picture. Sometimes it’s also a struggle, if the pen doesn’t do what I want …” The artist does not draw according to models, not even consciously experienced situations, but from within. Trying to draw nothingness is an endless inspiration for him.

Neumayr was born in 1958, in Tulln, Lower Austria. Upon graduating from high school, he completed a printing apprenticeship. He worked in this profession at the same company in Tulln for 33 years. A burnout obliged him to leave that job in 2005 and, that same year, encouraged by one of his friends, he produced his first painting. This was the initial start of his artistic pursuit, which developed in creative urges. Because he did not want to go back to his old job, he had to reorient himself. This orientation period lasted until 2011, when he started visiting the open studio program in gugging daily through his social worker at that time. The open studio is a place for unbridled inventiveness, open to any person regardless of age, gender, and psychiatric condition, who wishes to embark on self-taught creation. Initially, Neumayr painted in acrylic and watercolors, experimenting with different techniques and formats. Gradually his interest for drawing increased, the lines got more delicate, the format bigger and bigger and the time exposure longer and longer. While drawing with pen and India ink, he is in a state of tension, but at the same time calm.

Neumayr’s fine—mostly in black and grey—India ink drawings spin carefully around the cardboard, canvas, or paper and steadily aspire to completion. Both completion and material play an important role in the artist’s life. While he is nervous and anxious during the painting process—as he does not know where the stroke of his pen will lead him—he is usually relatively satisfied with the end result and at ease. Regarding the material, Neumayr uses different canvases or cardboards; rare, normal paper or laid paper are also used. Sometimes he adds a little color with India ink or pencils. By chance, he has developed his very own unique technique, which is well reflected in his work “Totem.” While he once did an etching, he saw that the etching needle gives structure and he wanted to incorporate it into his works as a kind of refinement. That is why he stitches, scratches out, thins down, and pays special attention to the structure and form of his figures. The strokes of his different pens vary in thickness and connect into rhythmic structures; this effect makes the picture come alive. The resulting images resemble geographical formations, outer space, fantasy worlds, or Greek mythological creatures such as the skin-colored “Circe.” They are emphasized by meaningful titles, that he finds in dictionaries or that emerge from the artist’s surroundings. His sprawling representations are open to an infinity of interpretations and associations. Recently, more and more figural creatures prosper in his works, such as “Eve and Adam” or the “Eronauts.”

Whether at the Collection de l’Art Brut in Lausanne, in many private collections, at the Drawing Now in Paris, or in the premises of the galerie gugging, Neumayr’s work enjoys great attention. At first glance, his oeuvre looks abstract, somewhat akin to automation. Starting off at a random point, he allows his hand to guide him until he sees a motif among the innumerable lines, which he proceeds to develop. “I draw, because it satisfies me,” he says. “I did it before I joined the gallery and I would have done it if there had never been this cooperation. But I am happy when people say something good about my paintings. The sale and the success are not so important to me, but I’m interested in how the pictures affect others.”

It takes a lot of patience and endurance to draw nothingness.

— Irina Katnik

Raw Vision at the Outsider Art Fair, NY

January 17–20, 2018

The 27th edition of the Outsider Art Fair in New York takes place this week from January 17-20 at The Metropolitan Pavilion.

Stop by the Raw Vision booth for back copies, Sourcebooks and to say hello to our Editors! You can also get your hands on our special bumper 100th issue, fresh off the press!

We will also be selling chewing gum paintings by Ben Wilson, matchstick carvings by Pradeep Kumar and paintings by Julia Sisi. Julia will be at the fair if you want to stop by for a chat!

We hope to see many of you there!

Metropolitan Pavillion 
125 W. 18th Street, New York, NY 10011

Symposium at Outsider Art Museum, Amsterdam

January 30, 2019

In 1949 Jean Dubuffet shocked Paris’s cultural elite with the "l’Art Brut" exhibition. Exactly 70 years later this exhibition comes to the Netherlands for the first time. To celebrate the exhibition "Art Brut | Jean Dubuffet’s revolution in the arts", the Outsider Art Museum has organised a symposium exploring the origins of art brut with art historians.

The symposium will explore the questions:

How did this unique art concept come about and what impact did the exhibition have? In the Dutch Art World, Dubuffet’s revolution was felt after Karel Appel visited the exhibition. Was art brut an important source of inspiration for him?

1.30 p.m.

2.00 p.m.
– Word of welcome by director and moderator Hans Looijen
– Lecture Sarah Lombardi, director Collection de l’Art Brut in Lausanne
– Lecture Hilde de Bruijn, senior curator Cobra Museum voor de Moderne Kunst

3.00 p.m.
– Discussion

3.30 p.m.
– Visit exhibition Art Brut | Jean Dubuffet’s revolution in the arts

4.30 p.m.
– Drinks in the Outsider Art Galerie
At the Outsider Art Gallery you will also have the opportunity to view their new exhibition Fine Fleur

5.30 p.m.
– End of program

Wednesday 30 January 2019 | 1.30 – 5.30 p.m.

Registration for the opening symposium by mail to info@outsiderartmuseum.nl before Friday 18 January. Participation is free.

Outsider Art Museum | Hermitage Amsterdam | Amstel 51, Amsterdam

Outsider Art Museum
Hermitage Amsterdam, Amstel 51, 1018 DR Amsterdam, The Netherlands

Steven S. Powers at the Outsider Art Fair, NY

Powers Presents: FINDING NORTH

In conjunction with the Outsider Art Fair (January 17–20), Powers just dropped, FINDING NORTH—a catalogue of outsider art featuring the work of Forrest Bess, MW Demorest (Kansas State Asylum), Joseph Garlock, Dilmus Hall, Ida Ella Jones, George Morgan, Sister Gertrude Morgan, Miroslav Tichý, Professor Williams, and others. 

View the 98-page online catalog at stevenspowers.com

Outsider Art at Montgomery Museum of Fine Art

until February 3, 2019

"The Improvisational Eye: Works on Paper by Self-Taught Artists"

Some of the twentieth-century’s most innovative artists, those now typically described as self-taught, revelled in the use of unusual and distinctive materials, many of which were not generally associated with the production of art. This reflects the importance of improvisation that is considered elemental and characteristic of their distinctive practices. This exhibition of works on paper by self-taught artists expands the typical consideration of their art, since paper has one of the longest histories of use in art-making.

Self-taught artists frequently utilized whatever resources they had at hand, including paper that may have had a previous use such as commercial packaging. The drawings of Bill Traylor (American, 1856–1949) are excellent examples of such “re-use”— in his case cardboard that he scavenged from empty boxes that had held candy or notions. Similarly, the artist Sybil Gibson (American, 1908–1995) used newspaper, brown paper shopping bags, or commercial wrapping papers as supports for her drawings. Others such as Juanita Rodgers (American, 1934–1985) obtained paper typically used for typing or printing. Thornton Dial (American, 1928–2016) worked in many media and made drawings later in his career using artist’s paper intended for the water-based media he favored.

The artists in this exhibition were improvisational both in their choices of material as well as the imagery they transferred to their paper media.

Montgomery Museum of Fine Art
One Museum Drive, Montgomery, AL 36117

Norbert Kox (1945–2018)

One of the greatest visionary artists of his generation, Norbert Kox was born in Green Bay, Wisconsin. Whilst a member of the notorious “Outlaws” biker gang, he began working on custom bikes and cars, soon progressing to painting on other items, creating artworks from salvaged objects. Leaving the biker gang was an emotional struggle, which he only achieved through immersing himself in religion. Kox soon found that he disbelieved the conventional teachings of Christianity, preferring his own interpretations. He joined the army and, with the help of art instruction books, began painting.

Between 1975 and 1985, Kox went through a period of religious isolation, living as a hermit in the wilderness of his personal outdoor chapel known as “Gospel Road.” On his return to Green Bay, he continued to work on his apocalyptic yet spiritual paintings, making use of nineteenth- and twentieth-century American religious imagery, changing their context and meaning to call attention to counterfeit Christianity. 

His religious visions of the battle between good and evil detail spiritual scriptures and examine the worship of false icons. Kox employed a complex layering technique, depositing layers of vivid oils and watercolours before adding a final glazing, giving a translucent quality. He recently opened his own museum to display his work in Gilett, Wisconsin and was just featured in Raw Vision #99.

Danielle Marie Chanut in Paris

until January 10, 2019

Thirty fantastical books and sculptures by Danielle Marie Chanut are on view at La Fabuloserie Paris.

La Fabuloserie Paris
52 Rue Jacob, 75006 Paris, France


Stanley Lench in Warrington

until January 19, 2019


Discover the story of forgotten artist Stanley Lench (1934 – 2000). Co-curated by Stanley’s lifelong friend David Trowbridge, this collection charts the artist’s development through portraits of silent screen stars, playwrights, musicians, and other 1960s icons, as well as a selection of drawings and paintings of fantasy figures, and early portraits of his family.

Warrington Museum & Art Gallery
Bold St, Warrington WA1 1DR, UK 

Galerie Les Impatients, Montreal

until March 2, 2019

Immersive group show "Du bison à la fusée" at Les Impatients invites viewers to enter a world created in art and music workshops by people with mental health issues.

Les Impatients
100 rue Sherbrooke East, 4th floor, Montreal, Canada