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High Museum Announces Touring Exhibition Exploring Rise of Self-Taught Artists
The High Museum of Art exhibition “Gatecrashers: The Rise of the Self-Taught Artist in America,” debuting this summer (Aug. 20-Dec. 11, 2021) and set to tour nationally, will celebrate more than a dozen early-20th-century painters who fundamentally reshaped who could be an artist in the United States. Featuring more than 60 works, “Gatecrashers” will investigate how artists including John Kane, Horace Pippin and Anna Mary Robertson “Grandma” Moses overcame class-, race- and gender-based obstacles to enter the inner sanctums of the mainstream art world, exhibiting their paintings widely and paving the way for later generations of self-taught artists. Following its presentation at the High, the exhibition will travel to the Brandywine River Museum of Art (May 28–Sept. 5, 2022) and The Westmoreland Museum of American Art (Oct. 30, 2022–Feb. 5, 2023).
“As one of the first American museums to establish a department dedicated to the work of self-taught artists, the High has spent decades studying, presenting and honoring their contributions to art history,” said Rand Suffolk, Nancy and Holcombe T. Green, Jr., director. “With this exhibition, our audience can see how they broke barriers of access to take their rightful place among the 20th century’s most celebrated contemporary artists.”
After World War I, artists without formal training began showing their work in major museums, “crashing the gates” of the elite art world, as the newspapers of their day put it. Benefiting from rebellions against academic artistic styles and an ongoing search for national character in American culture, Kane, Pippin and Moses became the most widely recognized self-taught artists of the interwar period. These three artists will be featured prominently throughout “Gatecrashers” and will be joined by other self-taught artists, including Morris Hirshfield, Lawrence Lebduska and Josephine Joy, who represent the breadth of the art world’s attraction to self-taught painters in the first half of the 20th century. Despite their lack of formal training, these artists’ paintings of American life in the cities and rural communities where they lived, as well as fantastical scenes derived from their imaginations, were celebrated by fellow artists, collectors and taste-making museums such as New York’s Museum of Modern Art, especially in the 1930s and early 1940s.
“Gatecrashers” is curated by the High’s Merrie and Dan Boone curator of folk and self-taught art, Katherine Jentleson, and is based on the book she authored of the same name, which was published in 2020.
“‘Gatecrashers’ — both the book and the exhibition — establish an origin story for how self-taught artists first succeeded within the mainstream art world,” said Jentleson. “Kane, Moses, Pippin and the other artists in the exhibition deserve to be reconsidered not only because of how their work intertwined with major cultural and social change of their day, but also because of how their gatecrashing set the stage for the vital role that self-taught artists still play in the 21st century, greatly diversifying our cultural canons across race, gender, class, ability and other important markers of identity that are all too often underrepresented.”
“Gatecrashers” will be organized in thematic sections that explore how these self-taught artists were embraced as examples of a uniquely American creative excellence and the role that their occupational histories played in advancing their reputations against the backdrop of Depression-era populism. The works on view also will demonstrate how alignments in style and subject matter led to exhibitions at major museums that integrated the artists’ work with that of their trained peers, foreshadowing how many museums today promote self-taught artists within their American and contemporary art displays.
In 1927, Kane succeeded in placing his oil-on-canvas painting “Scene From the Scottish Highlands” in the Carnegie Museum of Art’s contemporary art international thanks to the jaunty painting’s embodiment of the stilted realism of historical folk art, which was gaining popularity among artists and collectors in this era. Many of the self-taught artists who would go on to be celebrated in the subsequent decade were first-generation immigrants like Kane, whose painting shows the Scottish American heritage festivals he attended in Pittsburgh. Brooklyn-based Jewish artists from Eastern Europe such as Morris Hirshfield and Israel Litwak also found audiences for their work, demonstrating how the art world slowly became more inclusive of who qualified as “American.”
As African American artists struggled to find recognition in the largely segregated national arts scene, Pippin achieved great success with paintings like “Cabin in the Cotton” (ca. 1931-1937), a work set in the American South. In many of his works, including “Outpost Raid: Champagne Sector” (1931), Pippin recorded his experiences fighting in the trenches of World War I, where he was shot by a German sniper, resulting in an arm injury that he rehabilitated by painting. He lived in the part of Pennsylvania associated with the Brandywine River artists such as Newell Convers Wyeth, an early advocate of his work, and became a fixture in exhibitions of self-taught artists and in the first major surveys of African American artists that emerged by the end of the 1930s.
In addition to expanding definitions of American art in terms of both race and ethnicity, self-taught artists such as Josephine Joy and “Grandma” Moses also broke through the art world’s gender glass ceiling. Joy became the first woman painter to have a solo exhibition at the Museum of Modern Art when her paintings of flowers, trees and sites near her home in San Diego were shown there in 1942. By that time, Moses was on a trajectory to stardom that was unprecedented for any artist in the United States — and arguably remains so — after her paintings were discovered hanging in the window of a New York pharmacist in 1938. Her pastoral scenes of life in New England became a potent force as the United States entered the Cold War era. Her paintings even traveled abroad to promote goodwill toward America, much to the chagrin of American critics who were more interested in promoting abstract painting abroad.
“As self-taught artists become increasingly visible within today’s art world, this exhibition takes audiences back to the moment when it all began,” Jentleson said.
“Gatecrashers” will be presented in the Special Exhibition Galleries on the Second Level of the Stent Family Wing.
Exhibition Publication
“Gatecrashers: The Rise of the Self-Taught Artist in America,” is accompanied by Jentleson’s book of the same name, published by the University of California Press.
Encounter mythical creatures in a natural landscape when “Spirit Guides: Fantastical Creatures from the Workshop of Jacobo and María Ángeles” opens March 29.
Immerse yourself in a breathtaking outdoor exhibit that intertwines Mexican cultures and contemporary art when “Spirit Guides: Fantastical Creatures from the Workshop of Jacobo and María Ángeles” opens at Fernbank Museum.
From March 29 to August 3, guests can enter a supernatural world as they walk alongside towering, brightly colored and richly patterned sculptures in the natural landscape of Fernbank’s WildWoods.
Presented in both English and Spanish, this collection of brightly-colored fiberglass sculptures depicts imaginary hybrid animals and offers visitors an unparalleled journey into an imaginative take on the spiritual landscape of southern Mexico’s Indigenous traditions.
Inspiration and legend
In creating “Spirit Guides,” artists Jacobo and María Ángeles were inspired by an ancient Zapotec stone calendar. Indigenous to southern Mexico, Zapotec culture is deeply connected to plants, seasons and animals.
“Spirit Guides” beckons visitors to travel into the spiritual landscape of Mexico’s Indigenous traditions through these animal sculptures that act as both spirit guides and astrological embodiments of human character.
Some of the hybrid animals depicted include a combination of a deer-butterfly or a coyote-fish. These larger-than-life sculptures depict patterns and designs that symbolize different aspects of Zapotec life and culture, such as happiness, fertility and community.
The artists have previously stated that, according to a Zapotec legend, when you are born an animal comes to you to serve as your protector in this world. This animal is your tona, a being that shares your destiny and soul.
Along with your tona, you also have a nahual, which is assigned based on the year of your birth. This spirit animal embodies characteristics that mirror your own personality.
As guests stand before the sculptures in WildWoods — some of which stand nearly 8 feet tall and 9 feet wide — they are made conscious of the profound connection between the natural and cosmological worlds.
About the Artists
Jacobo and María Ángeles are a married artist team based in Oaxaca, Mexico.
Joyful, fanciful and distinctively patterned, the Ángeles’ animal sculptures embrace both contemporary art and folk-art traditions. They employ and teach more than 100 artisans in their workshop, which has created artworks shown in museums around the world.
Exhibit details
By drawing inspiration from the Zapotec calendar and their own imaginations, the Ángeles team sculpted their own mythical creations.
This exhibit features eight towering, vibrant fiberglass sculptures of hybrid animals, intersecting art, mythology and identity. The sculptures were designed through a multi-step process that included conceptual sketches, small wooden renderings and papier mâché molds before casting the fiberglass.
A team of artisans then helped to paint the sculptures with striking colors and intricate geometric patterns inspired by Zapotec and other Indigenous designs, each with their own unique meaning.
Organized by Denver Botanic Gardens, “Spirit Guides: Fantastical Creatures from the Workshop of Jacobo and María Ángeles” is on view from March 29 – August 3, 2025. The exhibit is included with General Admission at Fernbank Museum and is free with CityPASS.
It will also be on view select nights when the museum is open, including during Fernbank After Dark and Fernbank … but Later.
For more information, please visit fernbankmuseum.org.
“Ultimate Dinosaurs” will run from February 8–May 4, 2025
“Ultimate Dinosaurs,” a special exhibit that explores the fascinating species that evolved in isolation in South America, Africa and Madagascar, stomps into Fernbank Museum from February 8 to May 4.
Through the exhibit, guests will experience an impressive blend of skeletal displays and augmented reality as they learn about the changing prehistoric landscape of dinosaurs in a new, modernized way.
Journey through the Mesozoic
Based on groundbreaking research from scientists around the world, “Ultimate Dinosaurs” highlights dinosaurs typically unfamiliar to North Americans and seeks to answer the question: why are the unique and bizarre dinosaurs in the Southern Hemisphere so different from their North American counterparts?
Starting with the breakup of the supercontinent Pangaea, “Ultimate Dinosaurs” takes visitors on a journey through the Mesozoic Era (250-65 million years ago) and shows how continental drift affected the evolution of dinosaurs during the Triassic, Jurassic and Cretaceous periods.
“We are excited to have “Ultimate Dinosaurs” here at Fernbank and explore the unique ways that dinosaurs have evolved in isolation,” said program manager, Maria Moreno. “This exhibit combines rarely seen specimens with interactive stations for patrons of all ages to enjoy.”
“It is also very exciting to have an exhibit highlighting our mascot, the Giganotosaurus, one of the largest land predators to have ever lived,” Moreno added.
Dino displays and hands-on activities
Guests can view a variety of full-scale dinosaur displays from the Eoraptor, Malawisaurus, Suchomimus, Rapetosaurus and more, including 14 dinosaur skeletons. One highlight is the Giganotosaurus skeleton, which is also on view in Fernbank’s permanent exhibit, “Giants of the Mesozoic.”
This special exhibit will include several real fossils, some of which will be available to visitors to touch. Additionally, “Ultimate Dinosaurs” features several hands-on activities, one of which involves exploring the physical characteristics of dinosaurs’ stride patterns, crests and frills.
Another activity uses augmented reality to transform intricately detailed skeletons into moving, flesh-and-bone creatures.
Related programming
To celebrate the grand opening of “Ultimate Dinosaurs,” Fernbank is hosting a family-friendly Dino Day on Saturday, February 8 from 10 a.m. to 1 p.m. The event is included with general admission.
Additionally, the giant screen film, “T. REX 3D,” will be showing through May 16.
There will also be a lecture with Anthony (Tony) Martin, professor of practice in the Department of Environmental Sciences at Emory University, titled “On Frozen Ground Down Under: Polar Dinosaurs, Insects and other Cretaceous Fossils of Australia” this spring.
The details
Presented by the Science Museum of Minnesota, “Ultimate Dinosaurs” is open at Fernbank from February 8–May 4. The exhibit will be included with general admission tickets and is free with CityPASS.
For more information or to purchase tickets, visit fernbankmuseum.org.
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Expanding Horizons: How KGM Technologies Balances Defense, Medical, and Precision Manufacturing
Mike Schleifer to Leave Alliance for Lincoln Center Theater
Public Notice: Scheduled Maintenance on Town Center Parking Deck
Inside the Solicitor General’s Office: Lisamarie Bristol on Justice in Gwinnett County
Why Patient Experience Matters: A Conversation with Dr. Aristo Shyn
Burn The Ships: Alex Wright on Committing to Success & Helping Businesses Thrive
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