The 2020 Anne Hill Blanchard Uncommon Artists Lecture will explore new research on self-taught art in conjunction with the museum exhibition Memory Palaces: Inside the Collection of Audrey B. Heckler, presented until January 26, 2020.
Presentations include Diana Greenwald on James Castle, Raphael Koenig on Yuichiro Ukai, and Jonathan Frederick Walz on Eddie Owens Martin (St. EOM).
Coffee and pastries to start.
The Anne Hill Blanchard Uncommon Artists Lecture Series highlights new and important contributions to the field of folk and self-taught art. The annual series honors the late Anne Hill Blanchard, an inspiring and passionate leader in the field and a devoted supporter of the American Folk Art Museum.
Diana Seave Greenwald is assistant curator of the Collection at the Isabella Stewart Gardner Museum. Prior to joining the Gardner, she was Andrew W. Mellon Postdoctoral Curatorial Fellow at the National Gallery of Art in the departments of American and British Paintings and Modern Prints and Drawings. Trained as both an art historian and an economic historian, Greenwald completed her doctorate at Oxford, where she also earned an M.Phil. in Economic and Social History. She completed her B.A. in Art History at Columbia. At the National Gallery of Art, she cocurated two special installations—Diverse Modernisms, 1935–55 and American Surreal: Arshile Gorky and Nathan Lerner—and assisted with several special exhibitions. She was also responsible for researching and presenting the gallery’s recent acquisition of dozens of works by the self-taught artist James Castle. Greenwald has published scholarly articles in Nineteenth-Century Art Worldwide, Archives of American Art Journal, and The Economic History Review. Her book Painting by Numbers: Economic Histories of Art is forthcoming from Princeton University Press.
Raphael Koenig is a postdoctoral fellow at the Leonard A. Lauder Research Center for Modern Art of the Metropolitan Museum of Art, New York. His doctoral dissertation (Harvard University, 2018) analyzed the reception of outsider and self-taught art among the French and German avant-gardes from Prinzhorn to Dubuffet. He published art and cinema criticism in Artpress, Raw Vision, Art Papers, and La Nouvelle Quinzaine Littéraire, and was a cocurator of the exhibitions Eye Eye Nose Mouth: Art, Disability, and Mental Illness in Nanjing, China and Shiga-ken, Japan (Harvard Asia Center, 2019) and No More Fuchs Left to Give (Ljubljana Biennial of Graphic Arts, dir. Slavs & Tatars, 2019).
An expert on American modernism, Jonathan Frederick Walz is director of curatorial affairs and curator of American art at the Columbus Museum, Georgia, as well as an advisor to the Pasaquan Preservation Society. In 2017, he organized Pasaquoyanism: Eddie Owens Martin + Gê Orthof for the John Michael Kohler Arts Center and, earlier this year, he reinstalled a portion of the Columbus Museum’s collection of outlier art, including several new acquisitions. He is currently cocurating Viberations: Contemporary Artists Respond to St. EOM for the Illges Gallery at Columbus State University.
Images: Ukai Yuichiro; Obake; marker, colored pencil, and ink on cardboard, 73.5 x 82.5 cm, 2017. Image courtesy of Atelier Yamanami and Yukiko Koide Presents, Tokyo.
Eddie Owens Martin (aka “St. EOM”), entrance to Pasaquan post-restoration, 2017. Courtesy of Columbus State University.
James Castle (1899, Garden Valley, ID–1977, Boise, ID); untitled; n.d.; soot on cardboard, with gray and colored pink papers wrapped around board; 5 1/8 x 2 1/2 in.; Collection of Audrey B. Heckler.