❥ tributes to maud lewis

this week in outsider art features roy ferdinand's tribute to "son thomas", paintings for sale signs, and miniature eyes, plus a q&a with canadian folk artist jackie bradshaw

Oct 27, 2024

THIS WEEK IN OUTSIDER ART

for daily postings of outsider art visit folkartwork.art or follow on Instagram

**ROY FERDINAND** Son Thomas (c. 1990s) // Mixed media (likely watercolor, pen, marker, crayon and graphite on paper) via *RoyFerdinandArt.com*

**MAUD LEWIS** Paintings for Sale (1960s) // Oil on wood via *Art Canada Institute*

See six more folk art “painting for sale” signs by more self-taught artists

**ESTHER KRINITZ** My Childhood Home (1977) // Embroidery on linen; 49″W x 42″H via *Art and Remembrance*

» free preview of this week’s B-B-Bonus This Week in Outsider Art newsletter «

Eskimo Folktales (1913) via *Public Domain Review*

**MARIAN SPORE BUSH** Thunder & Lightning (c. 1938) // Oil on canvas; 106.7 x 152.4 cm (42 1/8 x 60 in) via *Gallery of Everything*

**HAITIAN STUDENT ARTIST** Untitled (c. 2023-2024) via *Michael McGrath’s website*

a few of the really great Haitian artworks created by Charles Art Jerry's art students -- these are being sold directly through Michael Mcgrath’s website with 100% of proceeds going directly to the students in Port-au-Prince… see more here

Catch Des Moines: "Faces In The Crowd" Art Exhibit Opening Reception

**JUNE GUTMAN** This feels like a scream (2024) via *the artist*

**ARTIST UNRECORDED** Majolica bowl (early 20th century; Cuzco, Peru) // Ceramic (earthenware), tin glaze; 1 9/16 x 6 11/16 in. (4 x 17 cm) via *Museum of International Folk Art*

**SISTER GERTRUDE MORGAN** The All Seeing Eye (date unknown) // Water-based paint and ball-point pen ink on prepared canvas; 21 x 14 1/2 inches (53.3 x 36.8 cm) via *Philadelphia Museum of Art*

Des Moines Register: Things To Do // "Faces In The Crowd" Art Exhibit

**FANTE ARTIST UNKNOWN** Flag for Asafo Company No. 2 in Gomua Oguaa (before 1957; Frankaa/Ghana) // Applique of cotton and linen fabrics with embroidered details; 42 1/2 x 62 3/4 inches (108.0 x 159.4 centimeters) via *North Carolina Museum Art Museum*

**JOSHUA VIRGILI** Untitled (before 1982) // Painting; 47.3 x 59 x 1.9 cm via *Musée LaM*

**ARTIST UNKNOWN** Eye miniatures(c. 1800) // Watercolor on ivory via *Philadelphia Museum of Art*

See ten total eye miniatures from the permanent collection of the Philadelphia Museum of Art

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FEATURED ARTIST OF THE WEEK

**LENNY MATHÉ** To the moon and back (2024) // Paint, plaster bandages on cardboard; 34x19x8 cm 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?

» Jackie Bradshaw On How Painting Helps Keep The "Demons at Bay" «

*Jackie Bradshaw at her home in Canada // Photo via the artist*

As the first-ever FolkArtwork exhibit, 'Faces In The Crowd,' gets closer and closer (less than 2 weeks way until the opening reception!) — I am excited to continue to share the stories of the artists I am fortunate enough to work alongside.

This week, I had the privilege of learning more about Jordan Sullivan, why he makes the art he makes and why he feels at home with “the underbelly”. Spoiler: partly because he knows that world pretty well.

Excerpts from my interview with Jackie Bradshaw:

FolkArtwork: While somewhat new to me, Canada has such a rich tradition of folk artists. You recently visited the home of Maud Lewis even painted a “paints for sale” sign similar to hers. What was that experience like for you and has it affected your artwork in any way?

JB: Visiting Maud Lewis’s home in the gallery, being in Nova Scotia, and seeing some of the sites she would have seen was an amazing experience for me. It was very emotional, and my family had to drag me away from her painted home. I wanted to stay with her brushstrokes forever. I could feel her presence in that house, and I could picture us having some tea and talking about our homes and our paintings. I think we would have been really good friends. Maybe everyone feels this way of someone of a somewhat celebrity status that they admire. Maybe this makes me delusional, but I don’t care we have a lot in common!

After seeing Maud’s home I just want to keep adding to the paintings in my home. Not necessarily in sweeping murals like I have been doing, but random playful brushstrokes and little pictures here and there that don’t necessarily have to connect. Which is actually hard for me.

I have been wanting to paint a fish ladder going up my basement stairs for a while that flows into a waterfall lady. And I want to paint my kitchen cupboards. And furniture I have mostly found on the side of the road or in thrift stores. My problem is, though, I run out of steam. Either way, I do have big (small house) domestic dreams of things I want to paint.

FA: Other than Maud Lewis, are there any artists, either self-taught or traditional fine artists that inspire you or you look to in your art-making practice?

JB: I really love Henry Darger. He is probably my favourite artist. I love that he was a custodian who made these incredible pictures and stories that no one knew about. I love that he created his own world to escape his own hardships. And really, I love that he was a custodian!

Jackie Bradshaw's work can be purchased in the FolkArtwork Collective shop and you can see her work on November 9th at the "Faces In The Crowd" FolkArtwork exhibit in Des Moines, Iowa.

read the full interview here

SHOUT OUT

folkartwork

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Shout out to Des at Huckleberry Home in Des Moines for allowing me to set up shop in front of her wonderful store and helping spread the good word about the “Faces In The Crowd” exhibit!

FROM THE COLLECTIVE

Since a young age, BAME expressed artistic interest and used art as a way to communicate with his peers, convey his needs, and tell stories about his day. His narrative paintings and drawings often capture autobiographical storytelling through whimsy and vulnerability.

available for purchase

IN CASE YOU MISSED IT

» MEET THE COLLECTOR SERIES PART SIXTY-NINE — Adam Oestreich, Iowa «

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