Sunday, March 17, 2019

Vernacular Voices at the Ogden Museum



This spectacular, if often eccentric, exhibition highlights the scope and depth the Ogden Museum's collection of  “outsider” and “visionary” artworks by self-taught Southern artists. What all this entails is somewhat different from the older and tamer version of what was traditionally meant by “folk art,” a term often used to describe displays of hand carved duck decoys, boats or baskets cleverly cobbled from from popsicle sticks. By contrast, works by untutored “outsider” or “visionary” artists tend to be less predictable, often reflecting the unusual inner life of creative individuals who are products of their time and place, yet were nonetheless gifted with unique visions that appeared to them in dreams, or were received from angels or the spirits of historical figures or maybe even the ghost of Elvis. Others are direct messages from God, who chose little known visionaries to spread divine revelations to the rest of us. The variations are endless but what they all share in common is a perspective unfiltered by graduate schools or art history, but which at its best reflects a unique way of seeing that, like all successful art, opens windows revealing insightful new views of the world around us.


Even the most straightforward of these artists can provide unexpected insights. Sometimes called a “memory painter,” Clementine Hunter (1886 – 1988) was a descendant of slaves who spent much of her life at Melrose, a plantation built by free people of color. There she painted field workers, cotton gins and baptisms with stylized figures in near-hieroglyphic compositions that are deceptively simple in much the way Mozart's classical melodies were often deceptively simple. Other works, for instance “Chaleur: The Sun Gives Life to Everything” reflect a far more sophisticated flair for composition and color. If Hunter is the legendary matriarch of the Louisiana folk art tradition, many who followed in her footsteps were more complicated characters. The late Herbert Singleton (1945 – 2007) carved wooden figures inflected with his passion for social justice, and against “confusion,” which he saw as a dangerous tool of oppressors, here reflected in the plight of three archetypal figures "Rasberry Man, Boyfriend and Strawberry Woman," below. Similarly, his carved bas relief, “Leander Perez,”  depicts the segregationist former political boss of Plaquemines Parish haranguing restive, bedraggled storm victims in the wake of Hurricane Camille in 1969.


If Louisiana is arguably the weirdest of American states, the intriguing thing about Southern outsider art is its pervasive strangeness regardless of locale. Henry Speller (1903 - 1997), a Mississippi Delta blues musician who often performed with Howlin' Wolf, created deeply psychological works that recalled expressionistic European “art brut,” for instance, in an untitled, undulating drawing of three weirded out women with bare breasts and high heels that resonates a sensibility somewhere between Helmut Newton and the art of the insane. No less odd are the hypnotically intriguing wood sculptures by Tennessee's Bessie Harvey (1929 – 1994), who believed she was on a mission from God. If her otherworldly figures in “First King and Queen” (detail, left) cobbled from painted wood, beads and cowrie shells, are peculiar, it is God's will because, as she once put it, “his people are peculiar people.” 

Although the mixed media assemblages and painted wall reliefs for which Alabama's greatest visual artist, the late Thornton Dial (1928 – 2016) is justly famous, are as eccentric as anything in the outsider art genre, they are distinguished by a compelling presence that transcends categories. His primal yet deftly sophisticated way of simultaneously navigating many dimensions is seen in “Struggling Tiger in Hard Times,” a convoluted jungle labyrinth cobbled from carpet, tin, rope and painted canvas on wood. His more boisterously buoyant “Man Got It Made Sitting in the Shade” depicts an expressionistic blue man serenely gazing at the viewer in the shadow of a colorful shrub like a spaghetti tangle of painted rope and canvas. It is never easy to divine exactly what Thornton Dial was thinking, but it is clear that he is a master of grand gestures that he coaxes from maniacal mazes of orphaned objects mingled with fragments of lost dreams.


A list of exceptionally beguiling, compelling, or just plain strange objets d'art in this exhibition of some 150 works by over 40 artists would be too long to mention here, but standouts include works by at least a few living artists including Mississippi's Elayne Goodman (b. 1940) whose “Altar to Elvis” mingles obsessive detail with near-cinematic production values. In a quieter vein, Louisiana's Welmon Sharlhorne (b. 1952) is a New Orleans resident who developed his precise yet otherworldly style of pen and ink drawing while serving time in prison. There he found “art and God” and, like so many of the artists in this exhibition, has been devoted to both ever since. ~Bookhardt / Vernacular Voices: Self Taught, Outsider and Visionary Art at the Ogden Museum of Southern Art, Through July 14, Ogden Museum of Southern Art, 925 Camp St., 539-9600. 

Sunday, March 10, 2019

(Per)Sister: Louisiana's Incarcerated Women at Tulane University's Newcomb Art Museum



Much gets overlooked in a national political atmosphere that resembles a tacky Reality TV show, but some things have simmered below the surface for years. For instance, America's incarceration rate for women grew over 800% in recent decades, and is worse in Louisiana thanks to our draconian “repeat offender” law. Most of our incarcerated women were jailed for non-violent crimes, and many are single mothers. Some 12% of Louisiana children now have a jailed parent. How did we get here? That dark history is explored in this "(Per)Sister" expo in the stories of over female 30 veterans of our prison system in collaboration with area artists. If that sounds grim, many of the works on view are quite engaging, with an aura of transcendence enlivened by a haunting soundtrack collaboration of Lynn Drury, Sarah Quintana, Queen Koldmadina, Spirit McIntyre, Margie Perez, and Keith Porteous.*


Butch Frosch's painting “Tremica's Courage,” top right, is a representation of Tremica Henry's separation from her three year old daughter, an image that, for emphasis, utilizes a pop art style that Frosch associates with white America. Lee Deigaard's mixed media “Persister Moon,” above, depicts a blood moon embellished with white flowers and metal mesh symbolizing prison births. The vibrant color patterns of Carl Joe Williams' installation invokes African cultural memory as a backdrop to Dolfinette Martin's story of her early incarceration and her later work on behalf of at risk young women. Epaul Julien's painting, “13th,” top, portrays Dolita Wilhike as an Angela Davis look-alike superimposed on an American flag where the stripes are images of chains, chain gangs and prisoners that implicitly question the actual legacy of the Constitution's 13th Amendment. Rontherin Ratliff's imposing “Queen” sculpture, above left, is a stylized chess piece that symbolizes the complicated process of Bobbie Jean Johnson's exoneration after decades of imprisonment, while Ma-Po Kinnard's ceramic “Aya” sculpture, based on an iconic West African deity of endurance, surveys these stories from the spirit realm, symbolically transcending oceans, continents and centuries. ~Bookhardt / "(Per)Sister: Incarcerated Women of Louisiana,” Through July 6, Newcomb Art Museum, Tulane University, 865-5328. *Featured in a free concert on Friday, March 22 at 6 pm, at the Newcomb Art Museum.

Sunday, March 3, 2019

Rediscovered Birney Imes Photos and New Sacabo & Wonk Tomes at A Gallery for Fine Photography



We think we know people but they sometimes surprise us. Although we never met, I felt I knew Birney Imes from his striking color photographs of Mississippi juke joints, structures so ramshackle yet richly colorful they exude a pulsating life of their own. But his recently rediscovered black and white photos are surprising for their subtle take on rural Mississippi life. The other surprise was that Imes, whom I'd imagined as a camera-toting Delta blues hound was, until his recent retirement, the publisher of the Columbus Commercial Dispatch daily newspaper. His works on view amount to a slice of everyday life in rural blues culture; their lack of color is more than balanced by their depth of empathy. In “Young Girl, 1989, Isola, Mississippi,” above, random kids and adults appear hanging out in a yard, but look again and the girl with the pale eyes seems wise beyond her years, with a knowing gaze as impassive as an ancient oracle.

Other daily rituals imbued with a distinctive presence include guys rounding up a lost bird dog, youths selling watermelons by the side of a road, a snazzy couple kissing passionately at a cafĂ© wedding reception -- a stark contrast to a formally attired youth, “Rufus at his Mother's Funeral,” looking stricken as he holds a solitary flower. In “Terrence Harris,” a young lad stands in front of a tiny shack almost obscured by a big old Detroit car stranded like a beached whale. He juggles a rock that hangs in space just above his hand. Locked in his gaze, it is unclear where it will land.      

These and other thoughtful works make A Gallery for Fine Photography a contemplative Lenten oasis. Up front, a reprise of Josephine Sacabo's recent “Tagged” photogravures expo -- French Quarter graffiti montaged with her images of iconic divas like sensual, secular saints -- assumes an altar-like presence amid her and partner Dalt Wonk's recently published Luna Press art books, lush works of provocative calm that are a perfect antidote to the manic storm of Mardi Gras. ~Bookhardt / Found These Pictures: Photographs by Birney Imes, Through April 20, A Gallery For Fine Photography, 241 Chartres St., 568-1313.