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Creative Growth, Oakland, CA

until November 15, 2019

“Meeting Places: Mangkaja and Creative Growth” pairs Aboriginal artists from Western Australia alongside Creative Growth artists with disabilities.

Creative Growth Art Center
355 24th Street, Oakland, CA 94612 
creativegrowth.org

From Creative Growth's website:

Creative Growth is pleased to announce Meeting Places: Mangkaja and Creative Growth, a groundbreaking exhibition that pairs Aboriginal artists from Western Australia alongside Creative Growth artists with disabilities. The exhibition is one of the first of its kind in the world and highlights the aesthetic and cultural connections between divergent populations of artists whose work is deeply connected to community and to non-academic artistic traditions.

Both Creative Growth and Mangkaja foster strong communities. Creative Growth is the oldest and largest center for artists with developmental disabilities in the world and has been at the forefront of advocating for work by developmentally disabled artists to be included in the contemporary art world. The organization provides visual art support and studio space to more than 150 artists with developmental disabilities every week, where they are encouraged to become a part of the community of artists while concurrently producing work that is a personal and singular form of communication with the world.

Aboriginal art centers like Mangkaja do not make distinctions about ability; yet they are often stratified based on senior cultural knowledge, where age is seen as a great asset to creativity. They are also safe places where many artists benefit from art as a therapeutic escape to complex life stresses and mental health issues. The art center is a lifeline, a meeting place, and a depository of knowledge. It supports the interests and incomes of contemporary artists and their communities, while remaining connected to Aboriginal culture, the longest continuous artistic tradition in the world.

Co–curators Emilia Galatis, an independent curator who works with the artists in Australia, and Tom di Maria, Director of External Relations at Creative Growth, collaborated during Galatis’ internship at Creative Growth and subsequent trips by di Maria to Australia. Inspired by the pure energy, community power, and the visual impact of each group of artists – and their often marginalized role in the contemporary art world – the exhibition examines intersections of the work itself and the frequent stylistic similarities shared between makers from these two art communities. Speaking to the similarity between the two art centers, Galatis notes, “When you walk into an art center, any art center, whether it’s Creative Growth or Mangkaja, you can feel something is happening. The vastly different work being created between conversations is community art-making at its best.”

The exhibition raises questions about the innate human need to create, and the visual language of community. Is there a visual lingua franca that speaks to us as human beings despite cultural and geographic separation? Within the exhibition, stylistic intersections are often striking. Works by Donald Mitchell (Creative Growth) and Daisy Japulija (Mangkaja) share an interest in an abstract expression of self and space; patterned works by Barry Regan (Creative Growth) and Sonia Kurarra (Mangkaja) are related by obsessive, repetitive stylistic mannerisms; and John Prince Siddon (Mangkaja) and John Martin (Creative Growth) demonstrate a fascination with the animals and objects that surround them, crafting their observations into fantastic personalized environments. Walmajarri sisters Sonia Kurarra and Daisy Japulija, who reside at a facility for palliative, disability, and dementia care that is supported by Mangkaja, are both represented in the exhibition. Their work shares affinities with Creative Growth artists Ruth Stafford and Nicole Storm, who each use decisive, repetitive lines as signifiers in their work.

“It’s exciting to welcome the Aboriginal artists from Mangkaja to Oakland and to exhibit their work alongside the work of Creative Growth artists” says di Maria.  “Every artist in the exhibition has a unique voice that responds to their respective artistic tradition and culture and serves as a powerful aesthetic vehicle to engage the viewer. The stylistic similarities are notable and express the inherent human need to place marks on paper, to record a person’s existence and view of the world.“

A catalog with an essay by noted Aboriginal expert Randall Morris from Cavin-Morris Gallery, New York will accompany the exhibition. The exhibition will also take form again in New York in January 2020 at the Outsider Art Fair, where the work will be presented alongside other international artists whose work is non-academic in nature.

American Visionary Art Museum, Baltimore, MD

until September 6, 2020

AVAM's new major exhibition “THE SECRET LIFE OF EARTH: Alive! Awake! (and possibly really Angry!)” celebrates life on earth whilst also reflecting on the wonders and interdependent fragility of living on this planet. Includes work by Julia Butterfly Hill, Peter Eglington, Johanna Burke and Alex Grey.

American Visionary Art Museum
800 Key Highway, Baltimore, MD 21230
www.avam.org

Marilyn Oshman Honoured at Orange Show Gala, Houston, TX

November 9, 2019

As part of the Orange Show Gala celebration this fall, Marilyn Oshman will be honoured for her impact on Houston Arts. Oshman has played an active roll on the boards of the CAMH, MFAH, Houston Ballet, Asia Society Texas, Raw Vision, The Menil Collection and The Orange Show Foundation, touching virtually every art institution in Houston. She founded The Orange Show Foundation and has tirelessly run it since its beginnings, and along the way saved The Beer Can House, generated the world's largest art car parade, and helped to inspire Smither Park, helping to make Houston a thriving international arts center.

For tickets to the 38th Gala, “ Texas Legends, Tall Tales, and Marvels”, click here.

The Orange Show World Headquarters
2401 Munger St, Houston, TX 77023
www.orangeshow.org

 

Paul Wright at Hart Club, London

until November 3, 2019

Submit to Love Studios, the East London arts space supporting artists who have survived brain injuries, introduces the work of artist Paul Wright in his vibrant debut show, titled “Carry On Del Boy”. The exhibition features more than 15 paintings, alongside a handmade rug and a selection of ceramics created by Wright over the last year under the mentorship of Stephen Wright (House of Dreams).

Hart Club
95 Westminster Bridge Road, London, SE1 7HR
hartclub.org
submittolovestudios.org

François Burland and Simone Pellegrini in Turin

until October 26, 2019

"François Burland / Simone Pellegrini: Shape Vision Paper" is the most extensive ever Italian exhibition of work by François Burland, and is also the first time in Italy that work by Simone Pellegrini is exhibited with non-academic art.

Gli Acrobati, via Luigi Ornato 4, 10131 Turin, Italy
www.gliacrobati.com
www.rizomi.com

Ovartaci at Museum im Lagerhaus, St. Gallen

until March 1, 2020

For the first time in Switzerland, Museum im Lagerhaus presents the life’s work of Danish artist Louis Marcussen, aka Ovartaci, (1894–1985). Ovartaci was an inmate at psychiatric institutions for 56 years and lived in trans identities, turning her/his surroundings into a unique universe.

Museum im Lagerhaus
Davidstrasse 44, 9000 St. Gallen, Switzerland
www.museumimlagerhaus.ch

From Museum im Lagerhaus' Press Release:

Louis Marcussen, aka Ovartaci (1894–1985), can be described as the Danish Wölfli. The Museum im
Lagerhaus is now presenting this extraordinary life’s work for the first time in Switzerland. Throughout
his/her life Ovartaci dealt with the theme of transformation. Pictures, sculptures, and even f lying
machines reflect fantasies about various cycles of reincarnation in his/her life – whether as a butterfly,
a bird, a puma, or a tiger. Numerous female figures and puppets, ranging from small to nearly life-size
and made of paper, cardboard, or papier maché, served as soulmates with whom Ovartaci surrounded
him-/herself in the room and which he/she painted on the walls and the bed. They point to Ovartaci’s
longing to embody the opposite sex opposite sex, to get rid of his male sex drive. Through self-
castration, he ultimately made the transition from man to woman.
‘Ovartaci’ was the name that she/he chose for him-/herself in the early 1930s, the alter ego, based on
the Jutland dialect word Overtossi, meaning ‘chief patient.’ However, around the end of her/his life
Ovartaci returned to the original civil name. Trained as a painter and decorator, Ovartaci was an
inmate at psychiatric institutions for 56 years. After Dalstrup in Djursland (1932–1942), where she/he
had the opportunity to paint the chapel, his/her longest stay was at the psychiatric hospital in the
Risskov district of Århus. Ovartaci was respected. She/he was the ‘prima donna’ of the clinic, was
given personal privileges, and the doctors enjoyed conversing with her/him. In this protected
environment, Ovartaci lived in trans identities and turned her/his surroundings into a unique universe.

Kohler Arts Center Acquires Von Bruenchenhein Estate

The John Michael Kohler Arts Center has announced the acquisition of a major collection of work by self-taught artist Eugene Von Bruenchenhein (1910–1983). More than 8,300 pieces, from Von Bruenchenhein’s estate, span the entire range of the artist’s work – from paintings and sculpture to slides and photographs – and join the 6,000 Von Bruenchenhein objects already held in the JMKAC collection.

John Michael Kohler Arts Center
608 New York Ave, Sheboygan, WI 53081
www.jmkac.org

 

From JMKAC's Press Release:

The John Michael Kohler Arts Center announced today the acquisition of a major collection of
work by self-taught artist Eugene Von Bruenchenhein (1910–1983). The more than 8,300 pieces,
which come to the Arts Center’s from Von Bruenchenhein’s estate, span the entire range of the
artist’s subject matter—from paintings and sculpture to slides and photographs.
“We are honored to receive this astounding collection of work thanks to the generosity of Lewis
Greenblatt, owner of the artist’s estate, and through the exceptional support of Kohler
Foundation Inc.,” said Sam Gappmayer, Arts Center director.
The collection represents the remaining materials from the Von Bruenchenhein estate and joins
the 6,000 Von Bruenchenhein objects already held in the JMKAC collection. Newly acquired
works include fowl-bone sculptures, concrete sculptures, paintings, and metal and ceramic
crowns. Also included are nearly 7,000 photographs and more than 1,000 photographic
transparencies.
“I am delighted to have worked with Karen Patterson at the Kohler Arts Center and Terri Yoho
at the Kohler Foundation in placing my collection of Eugene Von Bruenchenhein’s art work with

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the Kohler Arts Center in the wonderful home where it truly belongs,” said Greenblatt. “Karen’s
dedication and love of the work was instrumental in my decision making. Karen’s curation of the
Von Bruenchenhein show entitled Mythologies at the Kohler Arts Center was magnificent and
without peer to any EVB exhibition ever done….I will miss the work, but know that it is in good
hands.”
With this acquisition, a substantial amount of the artist’s work is now united—providing an
opportunity to illustrate the artist-built environment that Von Bruenchenhein created and lived in
at his home in West Allis, Wisconsin. An evocation of his artist-built environment will be
featured at the Arts Center’s new Art Preserve when it opens in early fall 2020.
The Art Preserve will be the world’s first facility entirely devoted to artist-built environments, a
unique art form created by artists who transform their homes, yards, or other spaces into
multifaceted works of art. The Art Preserve complements the John Michael Kohler Arts Center’s
location in downtown Sheboygan, which will continue to be the main venue for Arts Center
exhibitions, performances and other programs.
With a collecting history that began with the purchase of Eugene Von Bruenchenhein works in
1983, the John Michael Kohler Arts Center is the leading institution for the study and
presentation of artist-built environments. The Arts Center’s collection of works from artist-built
environments now includes approximately 25,000 works of art and archival materials from more
than 30 sites.
In addition to the Von Bruenchenhein estate, the Arts Center has also recently acquired a
concrete mask by Eddie Owens Martin and an untitled animal figurine by Charlie Willetto. Both
works were gifted by Kohler Foundation Inc.

Crystal Bridges Museum of American Art Announces Gifts / Purchases from the Gordon W. Bailey Collection

Crystal Bridges Museum of American Art Announces Gifts / Purchases from the Gordon W. Bailey Collection (Bentonville, ARK — September 12, 2019) — Crystal Bridges has acquired 23 artworks, by gift and gift/purchase, from the collection of Gordon W. Bailey, a Los Angeles-based collector. Bailey is a noted scholar and advocate of untrained Southern artists, particularly African-American, who struggled during the Jim Crow era.

“Gordon W. Bailey’s generous gifts are a welcome addition to our collection,” said Rod Bigelow, Crystal Bridges executive director and chief diversity and inclusion officer. “We’re grateful to be able to highlight and celebrate this array of inspiring works, primarily by African American artists, who have made important contributions to the American art historical canon. ” 

Highlights from Bailey’s group of works include: Dr. Crow, a painting on sheet metal by South Carolina artist Sam Doyle, whose works chronicled America’s unique Gullah culture, and were collected by Jean-Michel Basquiat; Cocaine Dog, a stirring, mixed media, metal sculpture by Thornton Dial Sr.; a poignant, 1950s, oil on board, Baptism, by Clementine Hunter; a six-foot tall, carved and painted, tree stump, Tree of Death, by Herbert Singleton, whose bas-relief works often address human frailty and hypocrisy; and several, outstanding, large-scale works by Purvis Young painted on wood panels reclaimed from cast-off shipping crates, and a 53-page book of Young’s mixed media works. 

“I have thoroughly enjoyed organizing this gift with Rod. He has shown keen insight, and an evolved social consciousness,” said Gordon W. Bailey. “The museum’s progressive board, headed by Crystal Bridges founder and board chair Alice Walton, is making bold moves, and has impressed me with their collective wisdom and commitment. The addition of, the Momentary, an innovative, contemporary, arts center, further ensures that the diverse and thriving region will continue to grow for decades to come.”

Crystal Bridges Museum of American Art
600 Museum Way, Bentonville, AR 72712
crystalbridges.org

Galerie ART CRU Berlin

until October 26, 2019

Galerie ART CRU Berlin will showcase the work of self-taught artist Maria Concetta Cassarà (1932–2018). When she was over 60 years old, Cassarà spontaneously began painting while looking after her granddaughter. She then worked on her paintings every day until late at night, until her passing.

Galerie ART CRU Berlin 
im Kunsthof, Oranienburger Straße 27, 10117 Berlin-Mitte, Germany
www.art-cru.de  

Christine Sefolosha at Chillon Castle, Veytaux

until November 24, 2019

Works by Christine Sefolosha are exhibited at Chillon Castle, including eight monotypes created especially for the exhibition.

Fondation du Château de Chillon
Avenue de Chillon, 21 CH -1820 Veytaux, Switzerland
www.chillon.ch

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