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• W342792612 abstract "Miracles of the Spirit: Folk, Art, and Stories From Wisconsin D. Krug & A. Parker (2005). Jackson, MS: University Press of Mississippi. 305 pages. ISBN 1-57806-753-7There was once a time when I assumed that art could be defined by certain formal properties and the manner by which these properties were incorporated in particular objects or events. Definitions were important to me as were the people (artists) who made Through my studies, I came to know about works of artists, past and present, from near and afar. Such study was fascinating. It enabled my venturing forth to many places. The definitions that I brought to this study were useful; but, in all too many instances, did not accommodate the flux of new and changing art forms. Indeed, as time went on, my reliance upon formal criteria lessened. I became much more willing to put aside certain formal predispositions and expectations. Instead, mine became a search to understand what it was that artists did-their interests, motivations, and, most important, the essence of the forms created.People have been making art for a long time. Works of art have been created in a variety of settings, motivated by a wide range of purposes. The resultant art forms have been as different as the circumstances of their creation. Just think of the art that we know about. The Lascaux Cave Drawings are thought to have been created 30,000 years before the birth of Christ. Most of the art created since that time has been lost or destroyed. As much as our museums and private collections have grown, they only represent an infinitesimal part of all that has been done. We can only stand in awe of what we know about (its scope and diversity); but we need always keep in mind the flickering and fleeting shadows that make up our awareness of past accomplishments.As the realm of possibility for inclusion in the domain of art has expanded, our interest and willingness to look in more unique settings has increased. If, indeed, art might be found everywhere, then it might be well to look more closely at things being done in more places.Attention to works of art created by unschooled individuals and initially shown in unusual places has been named art. I can recall a major exhibit at the Walker Art Center, Minneapolis in 1974: Naives and Visionaries. In the exhibition catalog's Introduction, Martin Friedman wrote:The scruffy curiousa bordering the Armenian highway includes such wonders as reptile gardens, instant pioneer villages, agate shacks, zoos and freak shows-glaringly announced by fluorescent billboards and pulsating neon... These exotic manifestations are best described as idiosyncratic architecture, whose forms include roughly carpentered houses, elaborately conceived stone arches and towers, and carefully 'finished' figure sculptures. The conceptual and stylistic range is vast, as is the variety of materials and techniques used. These structures-we have no adequate generic term for them-are characterized by direct, primitivistic forms. They are wondrous environments that radiate strength and optimism. (p. 7)Between 1991 and 1999, Don Krug and Ann Parker traveled the state of Wisconsin talking with and documenting the work of so-called outsider or self-taught artists. They then set about to tell their story in simple and direct terms. The resulting book, Miracles of the Spirit: Folk, Art, and Stories from Wisconsin, provides us with a rich source for understanding the visual culture of people outside the mainstream of what is typically thought of as fine art. All of this makes for fascinating and informative reading. We are enriched by insights that cast a new light on our understanding of contemporary art and the dynamics by which we attribute significance and value to human efforts in the creation of visual forms.Living and working in a neighboring state, Illinois, I often find myself driving on highways to and from Madison and Milwaukee. …" @default.
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• W342792612 title "Miracles of the Spirit: Folk, Art, and Stories from Wisconsin" @default.
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