Art Brut

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So far Art Brut has created 5 blog entries.

Outsider Art, Overview

Self Taught & Outsider Art Overview

Throughout history there have been artists who created without the benefit of formal training. However, for many centuries, the dominance of the European art academies obscured the work of these self-taught artists, who were judged to be inept and inferior. Only at the dawn of the 20th century, when artists began to rebel against the academies, did self-taught art suddenly receive serious attention from the mainstream art-world. Artists like Picasso and Kandinsky felt that trained artists were inevitably corrupted by their schooling, and that self-taught artists were purer and potentially greater.

After World War II, in an attempt to repudiate a “civilization” that had spawned the Holocaust, the artist Jean Dubuffet invented the ideal of Art Brut (“raw art”)–an art untainted by any trace of received culture. This concept, translated as “Outsider Art” by Roger Cardinal in the first English-language book on the subject, gradually took root in the United States. Here, the term “Outsider Art” is often used interchangeably with “self-taught” to denote any art produced outside of academia.

By |December 30th, 2011|Art Brut, Folk Art, Outsider Art|0 Comments

Church Street Art Main Site Re~designed

Church Street Art Main Site Re~designed

Come visit us at our redesigned website!

Church Street Art Gallery
34 Church Street,
Lenox, MA 01240

By |September 30th, 2011|Art Brut, Folk Art, Outsider Art|0 Comments

Modern Primitive – Like Modern Art, But More So

LENOX, MA: In the rich tradition of iconoclastic, self-taught artists, two of the most exciting current practitioners are David Eddy and Larry Zingale, who both live and work in the Berkshires. Their art is often called “Primitive” linking them to Paleolithic cave painters or to the more recent genius of self-taught artists like Henri Rousseau.

In the footsteps of Rousseau, Paul Klee on through Milton Avery, we find that Eddy and Zingale succeed in combining naïve realism and a studied guilelessness. And because their art came to the fore independently of formal training, they are given the distinction of being “Modern Primitives”.

These are painters who thrive on the continuing tension between the rigorous, often restrictive standards of the art establishment and those who come to create art with seeming spontaneity and inspiration. They live outside what Charles Russell calls “the consensus of the art world.

Church Street Art Gallery celebrates this truth with an exhibit featuring David Eddy and Larry Zingale, whose work may contrast, but whose inspiration follows this rich tradition.

They both came to art in unlikely ways. For Eddy, before he was a hard-working painter with art dealers anxious for more work, he was a hard-working roofing contractor who loved spending rainy days with crayons and chalk. The New York Times referred to his naïve sophistication as “reminiscent of Paul Klee.” His semi-abstract figurative compositions are created with passion, exuding raw energy and his paintings have an encaustic quality to them. “My painting is a gift”, says Eddy, “a result of circumstances I could never have predicted or dreamed.” Recently Eddy’s work has been exhibited at the Julie Heller Gallery in Provincetown, MA, the Jan Baum Gallery in Los Angeles, CA, the Modern Primitive Gallery […]

By |July 30th, 2007|Outsider Art, Self Taught Art|1 Comment

Paul Jervis: The Playful & Profound

One of the best things about having your own gallery is knowing that you are bringing something new to your community, sharing something that moves you, with your friends and neighbors.

And, of course, there’s knowing that you’re providing an opportunity for artists to bring their work to the forefront, to find the audience they have been working so hard for, the audience they deserve.

One in a while we indulge ourselves and host a show with the art we love to surround ourselves with. We love Paul Jervis work. And even though we had a show of his work only last year, well, the fact is, we missed seeing his paintings. Call it an encore, if you will. We just had to bring Paul back on stage.

Plus last year’s exhibition of Paul’s work was so well received we expect you’ll be glad to see what he’s up to.

Paul combines traditional skills with a distinctly modern sense of irony, it invites you to see familiar objects with an entirely new vision.

Some examples: bar glasses become important objects objects. Flowers atop photographs and envelopes develop a surreal, Magritte-like counterpoint. A No Parking sign appears like a gem in the dusky landscape.

No Parking, 11″ x 14″ – oil on canvas

One reviewer of last year’s show put it this way, the effect of combining formal beauty with informal subjects can be delightful, and even a bit surreal, implying that there is more going on than meets the eye.

What we love is how the everyday becomes imbued with greater significance. Paul has a way of taking a table, a dinner dish and a cup of coffee, and suggesting a story we all understand. And somehow it is important to us without […]

By |June 10th, 2007|Contemporary, New Work|0 Comments

Folk Art: The Direction the Wind is Blowing in the Art World

On Saturday, May 26th the Church Street Art Gallery presents an exhibit devoted to American Folk Art, a rich and often-misunderstood art form. We’ll be presenting a fascinating and exciting assemblage of some of the best examples of Folk Art. It’s an exhibit whose breadth reaches beyond the ubiquitous weathervanes one expects to see.

Over the last century, experts and passionate collectors of Folk Art have made great strides in separating the ordinary from the extraordinary, creating standards for what seems on the surface to be naive and untrained. Folk artists are largely self-trained, and always have set out on a personal and unique path to express themselves. Their work is often considered â€primitiveness€ in execution and technique. But the works on display at the Church Street Art Gallery make the point that these artists share a rare gift of being able to communicate excitingly and vividly the passions and obsessions that caused them to create art in the first place.

It’s always exciting to see how ingenious these artists are in their use of everyday objects and in their unique styles of painting. One of the most familiar examples in the 20th century are the paintings of Grandma Moses. With her deceptively simple use of space and subject matter she created storytelling moments of her life in pastoral New England.

Works by artists who are becoming recognized as outstanding talents are often commanding the kind of prices only the best works of traditional art once commanded. A small painted folk art carving of a heart and hand, sold at auction in 2003 for $79,500. Probably the most famous of all American folk paintings, The Peaceable Kingdom was painted in multiples by the Pennsylvania Quaker Edward Hicks. The […]

By |April 27th, 2007|Folk Art, Folk Artists, Outsider Art|0 Comments