These city scenes show a mastery of detail and a real feeling for people and place. Drawn by Quinten B. Smith in the 1990s and early 2000s, their precision and beauty make them wholly convincing.
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Category: Art
Vintage Vinyl For Sale
I’m selling many vintage vinyl LPs at my neighborhood’s community yard sale Saturday, Sept. 8, 9-4. Plus vintage furniture, art objects, collectibles, household items, vintage textiles and more. Of course, any reasonable offer will be considered. Here are the LPs that will be on sale:
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Outsider Art: Chicago We Own It
A look past Chicago’s outsider art canon to anonymous & lesser-known artists, the collectors who found their work, and Maxwell Street, where many learned how
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Farewell Joe Markevicius
I learned today of the death of Joe Markevicius, one of my favorite artists. Joe was a “soutsider” artist, a graduate of Gage Park High School and a wizard with pastels. I always thought there was a sadness to Joe at least partly reflected in his choice of subject — mostly Chicago places that had disappeared or were in the process of disappearing.
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Harvey Ford: Objects of Beautyness
Harvey Ford was a prolific producer of drawings when he was in the art program at Joliet’s Stateville Penitentiary, but he also made some impressive sculptures, mostly ceramic, and at least a few papier-mâché. The colors and shapes are more than a match for the intensity of his drawings, many of which he made with burnt matches. Although prison art programs produce a lot of material that is of little interest beyond the cellblock walls, the Stateville program, as its output makes evident, encouraged artists to follow their own creative direction. Ford was a true visionary and a case study
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Auto Parts Art Gallery, and Vicinity
Frank’s West Side Auto Parts, at Kedzie Avenue and 30th Street, is an art gallery unto itself. Plus, there are other great signs in its vicinity, including more auto parts art and other examples of vernacular creativity.
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I’m joining with several other collectors for a two-day art sale Friday April 20 (5-8) and Saturday April 21 (11-5) at Intuit, 756 N. Milwaukee Ave., Chicago. The emphasis will be self-taught, folk and outsider art, but there will also be African masks, textiles, kitsch items, contemporary art and other interesting things — lots of cool stuff at very good prices. You can see a flier below, and photos of some of the things I’m planning to bring. It should be a fun event, and We’ll be donating 10% of our proceeds to Intuit. While you’re at Intuit, we’ve got
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Review — Jim Shaw: The Hidden World
Jim Shaw: The Hidden World, edited by Marc-Olivier Wahler. Koenig Books, London, 512 pages, 2014. ISBN: 978-3863355845. Hardcover. Jim Shaw’s collection of religious, political and cultural ephemera, published in 2014 as an exhibition catalog, makes for a great book, especially if your collecting interests align with Shaw’s, as mine not coincidentally do.
Continue readingReview — As Essential as Dreams: Self-Taught Art from the Collection of Stephanie and John Smither
As Essential as Dreams: Self-Taught Art from the Collection of Stephanie and John Smither, by Michelle White, with contributions by Lynne Adele, Brooke Davis Anderson, Haley Berkman, David Breslin, Víctor M. Espinosa, William Fagaly, Edward M. Gómez, Jo Farb Hernández, Lee Kogan, Colin Rhodes and Leslie Umberger. The Menil Collection, Houston, 112 pages, 114 color illustrations, 2016. ISBN: 9780300218411. Hardcover, $45. As Essential as Dreams could easily have been another routine entry in a long line of vanity art projects-exhibits of personal collections, ideally at prestige museums, with catalogs just weighty enough to prove the collectors’ good taste and sound
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Review — Outsider Art: Visionary Worlds and Trauma
Outsider Art: Visionary Worlds and Trauma, by Daniel Wojcik. University Press of Mississippi, Jackson, MS, 276 pages, 174 color illustrations, 2016. ISBN: 978-1496808066. Hardcover, $45 Can we agree that the art still sometimes known as outsider is much more interesting than what to call it? It might seem a simple enough proposition, yet arguments over the label continue to distract from the art, even among those who consider the debate mostly fruitless. Daniel Wojcik’s book is a case in point. When it’s good, it’s very good, providing sensitive, thoughful accounts of the art and its creators, with real insights into
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