it's the moon

this week in outsider art features a moon on a crab shell, horace pippin and claude cahun, plus i hope to see you in austin, texas and a shout out to a local artist

Aug 11, 2024

THIS WEEK IN OUTSIDER ART

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**ARTIST UNKNOWN** Hand-painted crab shell depicting the moon (19th century) via *Rachel Davis Fine Arts*

**FRIEDRICH SCHRÖDER SONNENSTERN** Untitled (1961) // Colored pencil on paper; 28.74 × 20.08 in via *Christian Berst*

**MARIA PRYMACHENKO** Our Penguin Friends Wanted to Look at Polesie: How They Plow Here and How Beautifully Young People Dance (1989) // Gouache on paper via *Przekroj Magazine*

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**MAUD LEWIS** Roadster and Cow (c. 1960s) // Oil over graphite on particle board; 30.4 x 34.7 cm via *Art Canada Institute* / Collection of Dr. Doug Lewis and Florence Lewis, Digby, Nova Scotia

**J. BORGES** Printing Block (The Man who Killed) (1980) // Wood and rubber; 4" × 5" via *American Folk Art Museum / Rest in peace Brazilian folk artist José Francisco Borges who passed away last week at the age of 88 years old.*

**HORACE PIPPIN** Holy Mountain III (1945) // Oil on canvas; 25 1/4 × 30 1/4 in. (64.6 × 76.8 cm) via *Smithsonian American Art Museum*

In The Holy Mountain III, the tiny brown figure hanging in the trees refers to the ongoing scourge of lynching in the racially segregated southern United States. He inscribes on each a date significant from WWII. The Holy Mountain III is marked "Aug 9, 1945", the day the United States dropped an atomic bomb on Nagasaki, Japan. (Smithsonian)

**CLAUDE CAHUN** Object (1936) // Wood and paint with tennis ball, hair, and found objects; 13.7 × 10.7 × 16 cm (5 3/8 × 6 3/8 × 4 in.) via *Art Institute of Chicago*

Cahun's assemblages were typically ephemeral and made to be photographed; "Object" is the only sculptural work by the artist known to still exist in its original form. (Art Institute)

**DROSSOS P. SKYLLAS** Young Girl with a Cat (ca. 1955) // Oil on canvas; 33 × 26 in. (83.82 × 66.04 cm) via *Milwaukee Art Museum*

**ARTIST UNKNOWN** Tigre Mask, Tecuane Dance (mid 20th century; Guerrero, Mexico) // Painted leather, boar bristles, mirror; 11 x 21 x 12 inches (27.9 x 53.3 x 30.5 cm) via *Cavin-Morris Gallery*

**WILLIAM HAWKINS** Nineteenth Century Houses (late 20th century) // Enamel on masonite; 45 x 60in. (114.3 x 152.4cm) via *Brooklyn Museum*

**ANDREW CLEMENS** George Washington Sand Art (1888) // Images created using sand in natural colors as found in the ravine north of Pikes Peak near McGregor, Iowa. Sometimes called "sand painting," the work is comprised of individual grains of sand; height 11.75 inches x diameter 4.125 inches via *State Historical Society of Iowa*

Images of George Washington, two American Indians, a paddle steamer and the Great Seal of State of Iowa. Signed and dated using grains of sand inside the container by Andrew Clemens. Arranged in a curved topped glass bottle with a sealed foot.

The George Washington bottle is believed to have been made by Clemens for his mother, Margaretha (1828-1912). Her name was sometimes adapted to Margaret in census records. He worked on this bottle off and on for about 18 months. (Historical Society)

**SHUVINAI ASHOONA** Composition (Sewing for Babies) (2020; Cape Dorset) // Coloured pencil & ink; 43 x 50 1/8 in. via *Feheley Fine Arts*

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FEATURED ARTIST OF THE WEEK

**CALLUM NISBET** Tatuaje (2024) // Timber and acrylic paint courtesy *the artist*

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WATCHING AND READING

Here are a few things I’ve been watching this past week:

Here are a few things I’ve been reading this past week:

OH WORD?

**“What's the Scoop?”** // Opening Reception at SAGE Studio & Gallery in Austin, Texas: 8/16 from 6–8 pm

This coming Friday, August 16th you should get to the the opening reception of SAGE Studio & Gallery’s latest exhibit, “What’s The Scoop?”, a magazine-themed group show featuring work by Henry McDonald, Montrel Beverly, Whittie Dent, Jennifer Williams, and Chris Cody.

I know it’s not super easy to get to Austin, Texas for everyone — but hell, if I’m driving 15 hours to get there what’s your excuse?! I kid, I kid. I’m not in my right mind. Growing up in the Midwest we are made to believe that if you can drive somewhere in 8-12 hours there’s no point in getting on a plane. So I can’t wait to get on road, see some weird art environment in the middle of a field, visit some art galleries and listen to the same podcast about the same comedian telling the same stories I’ve heard many, many times.

You should enjoy the rest of your summer and not drive across the Midwest… unless you want to! You do you.

But for real, I’m very excited to return to my old stomping grounds of Austin, Texas for one last hurrah before school starts in a few weeks. And I’m beyond thrilled to see my good friends at SAGE for the opening of what is sure to be a lovely show and evening.

If you’re at the show, come say hi! Hope to see you there.

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SHOUT OUT

b. Robert Moore, ‘Without A Shadow of Doubt (Daddy’s Boy),’ 2024. 37”x58” Acrylic, charcoal wash on Belgian linen via Forbes / Courtesy of “Borg” Tobias Tyler

Shout out to Des Moines, Iowa’s own b. Robert Moore for the excellent write up in Forbes this past week. “‘Daddy’s Boy’ B. Robert Moore At Des Moines Art Center” highlights the powerful and inspiring exhibit that debuted this summer by the self-taught artist. A must-see show, and well deserved recognition by Chadd Scott of Forbes.

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FROM THE COLLECTIVE

SARAH LEE is a self-taught Irish artist and illustrator working in London. Working full-time as a nurse and at a charity that runs workshops for people with mental health conditions. When she isn’t working or spending time with her daughter, Sarah paints every chance she gets.

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