Tag Archives: Outsider art

MODERNISM ADORED: 20th Century Art A New Online Exhibition Now Open

“Art cannot be modern. Art is primordially eternal.” Egon Schiele 

New York City, New York, April 2024. Our friends at Helicline Fine Art proudly announces the opening of its new online exhibition, Modernism Adored: 20th Century Art, a celebration of the revolutionary artistic movements that defined the 20th century. The exhibition runs through June 30 and features a curated selection of paintings, drawings and sculptures from important to rediscovered artists, Modernism Adored explores essential movements that shaped the artistic landscape during the 20th century from ashcan, cubism, art deco, Vorticism, WPA, abstraction, abstract expressionism, caricature and outsider art. It brings together a diverse range of artwork that reflects the spirit of innovation and creativity that defined these pivotal periods in art history. As we are a NYC based gallery, the history of New York inspires us to include art that glorifies our great city.

“We are thrilled to present Modernism Adored: 20th Century Art. This is stuff in our hearts and we are honored to share it with collectors and curators throughout America and worldwide,” said Helicline proprietors Keith Sherman and Roy Goldberg. They continued, “This exhibition is our “eye,” it exemplifies the enduring impact of modernism in art and provides a unique opportunity to witness the evolution of artistic expression over the course of the 20th century.” 

Highlights of Modernism Adored: 20th Century Art include three early Stuart Davis drawings, Vorticist linocuts by Sybil Andrews and Lill TschudiMaurice Guiraud-Riviere’s breathtaking “La Comete” silvered bronze, several works by Al Hirschfeld, abstracts by Florence Henri and O. Louis Guglielmi, a Charles Demuth drawing of bathers, an early Daniel Celentano oil, a precisionist industrial scene by Simon Wachtel, and much more. 

Artists in the exhibition include: Sybil Andrews, Maurice Becker, A. Aubrey Bodine, Jo Cain, Staats Cotsworth, Daniel Celentano, Robert Cronbach, James Daugherty, Stuart Davis, Charles Demuth, Donald Deskey, George Pearse Ennis, William Gropper, O. Louis Guglielmi, Harold Haydon, Florence Henri, Al Hirschfeld, Mervyn Jules, Max Kalish, William Kienbusch, Georgina Klitgaard, Henry Koerner, Leon Kroll, Vladimir Lebedev, Carlos Lopez, James McCracken, Alfred Mira, Irene Rice Periera, Antonio Petruccelli, Arthur Rosenman Ross, Hilla Rebay, Maurice Guiraud-Riviere, Joseph Solman, Lill Tschudi, Gerrit Van Sinclair, Samuel Wachtel, Katherine Wiggins, John Winters and Purvis Young. 
Florence Henri (1893 – 1982)Composition18 ½ x 12 ½ inchesGouache on paper Monogrammed F.H. and dated 1926 lower rightGeorge Pearse Ennis (1884 – 1936)Forging a Gun Tube #146 x 37 inches, 1918 Signed lower right
There is great debate about what modern art is.
Numerous descriptions abound. It is a series of genres from the mid-19th century to the present that challenged the Western standards of fine art and embraced new forms of expression. It is often seen as beginning with realism, which rejected the traditional subjects of art and focused on common people. 

Others say modernism was a movement in the arts in the first half of the 20th Century that rejected traditional values and techniques and emphasized the importance of individual experience. A broader perspective, which we at Helicline embrace, modernism was a break with the past and the concurrent search for new forms of expression. It is in fact, constant reinvention, and it’s significant because it fundamentally asks us to change our perspectives as time passes.  

“The strangeness will wear off and I think we will discover the deeper meaning in modern art.”  Jackson Pollock
Daniel Ralph Celantano (1902-1980)Long Beach8 x 10 inchesOil on artist boardSigned lower leftTitled in pencil, versoHarold Haydon (1909 – 1994)History of the US Postal Service21 x 25 inchesoil on canvas, c. 1938

Why Modern Art Continues To Influence Contemporary Artists

The 20th century distinguished itself from the previous century with a new form of industrial revolution- one tied much more intimately to an advancing technology that propelled society into a state of speed and frenzy. Not just the streamlining of railway trains and automobiles or the advancements in transcontinental travel brought on by first lighter than airships, then seaplanes and jet airliners- the motion of advancement and relocation had a seminal effect on culture and thought. The skyscraper and new vertical constructions created its own influence and metamorphosis: hundreds of families could now be housed in a singular structure adding a homogeneity and imposing bold linear designs and influences. Two world wars and a multitude of others pushed existentialism into the minds of many academics and thus filtered into other areas of discipline such as literature, music and design. The development of the transistor created miniaturization and gadgetry that became an essential component to living spaces and personal effects. Television became a manifestation of any imaginable visual image and transfixed society into another state of readiness- a state ready for instant and dense media served quickly and directly. All of these things (and more) gave rise to new forms of art- most often recognized by the general public in modern abstract paintings. The ‘sense’ of all the above was captured by artists using new ways of communicating through their work: immediacy (action painting) and abstraction were more aligned with the zeitgeist then earlier classical forms of artwork.

Untitled abstract 11 Jarrod Barker 2024

The 21st century has seen many parallel and analogous developments. Though we are ‘only 24 years’ into this latest age, the concept of quick advancement and speed is in full effect. From the maturation of the digital age (the internet) and digital communication (email) to rapidly advancing personal communication (smartphones) and powerful and inexpensive computers to today’s exhilarating advancements in AI (artificial intelligence) and robotics. These ‘re-mapped’ and repeated driving forces from the last century continue and their effects most readily recognized are still key components of contemporary ‘neo-modern’ artwork.

MORE ABOUT HELICLINE FINE ART:
Helicline Fine Art, founded in 2008 by Roy Goldberg and Keith Sherman, specializes in American and European modernism. The gallery’s core offerings are works from the WPA period. Additionally, Helicline offers American scene, social realism, mural studies, industrial landscapes, regionalism, abstracts, and other artwork. Located in a private space in midtown Manhattan, Helicline is open by appointment. The artworks on the site represent a sampling of available works. Helicline’s offerings are also available on artsy.net and 1stDibs.com.
Caption for image at the top of this article: Simon Wachtel (1900 – 1965)Factory Yards N. 336 x 24 inchesOil on canvas, c.1930s Signed lower right

Exploring Outsider Visionary Art

For the last couple of decades the term “Outsider art” has come into popular use as a catch all phrase to describe the work of those who live “outside” society.  Prisoners, religious visionaries, the institutionalized, and hermits all fall into this category.

It is quite often grouped together with folk art in that it is also primarily work by an untrained hand, but it differs in that the work is often more wildly imaginative,  or “edgy”.

Back in the early 90’s, I was fortunate enough to participate in the second and third Outsider Art Fairs  in New York.  I was struck and amazed at the high levels of both positive and negative energy  generated by the various works from around the world on display there.

Everything from giant nightmare fantasies to what could best be described as visions of heaven fighting it out side by side.  It was intense and worthwhile.   It was also an interesting lesson in marketing, in that I observed how a handful of powerful art dealers control and establish who is “hot” and how much these works were going to cost.

The newly found amazing collage/paintings of Henry Darger were presented initially at about $4,000 for a small one.  The second year the price was $40,000.

The book had come out on the Chicago recluse who spent all his days writing his posthumously discovered 15,145-page, single-spaced fantasy manuscript called The Story of the Vivian Girls, in What is known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion, along with several hundred drawings and watercolor paintings illustrating the story.  Beautiful and disturbing.

Betwixt and Between: Henry Darger's Vivian Girls
Betwixt and Between: Henry Darger’s Vivian Girls

[This is a picture of Elsie Paroubek who was murdered at the age of five in 1911 in Chicago. The picture is most likely to have come from the Chicago Daily News. It was one of many newspaper photos of children collected by artist Henry Darger. According to his autobiography, his copy of Miss Paroubek’s photo was in amongst some items that were stolen when his locker at work was broken into, and he was unable to locate the picture in the newspaper archives. The tragic death of Miss Paroubek and the loss of her image inspired him to begin writing his monumental fantasy novel “The Story of the Vivian Girls.” Miss Paroubek was a central character in the novel, under the name Anna Aronburg. Photo is in the public domain. Text excerpt from wikipedia CP]

In Canada, there are just a few documented artists who could be considered “outsiders”.   There is Clarence Webster who drew interesting childlike pictures to cheer up the walls of his institutional room.

A very interesting visionary artist was Alma Rumball who lived in a rural Muskoka cabin. Following a vision of Jesus, she became a clairvoyant recluse, at age 50, creating prolific, intricate, coloured pen and ink drawings.  She watched, as “The Hand” drew by itself, unfamiliar forms, faces, and characters, separate from her consciousness.

There is a good Vision T.V. documentary on this artist.  Another example is Gilbert DesRochers, who after a religious vision moved to his brother’s farm near Perkinsfield, where he lived in a small trailer and attended church regularly, producing many religious based sculptures.  He was discovered and documented by artist John Hartman in 1980 and a solo exhibition of his work was held at the McMichael Canadian Art Gallery from November 3, 1991 to March 1, 1992. For the Silo, by Phil Ross. 

Featured image- The ascension of Gilbert DesRochers. Beaverbrook Art Gallery.