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LET'S GO GET STONE(HENGE)D
Recently, a Paris-based artist friend sent us a postcard showing a photo of Stonehenge, the prehistoric site that is one of Britain’s most iconic cultural properties. The photo that appeared on the card was several years old but certainly not as well-aged as Stonehenge itself. We got in touch with a few other brutjournal contacts who had some thoughts to share about this most enigmatic of souvenirs of a time whose mysteries are locked in the silence of its stones.
JOHN FOSTER EYES ART WITH EYES
Our pal John Foster, the talented graphic designer; longtime collector of outsider art, folk art, vernacular photography, and artistically striking whatchamacallits; and all-around thoughtful aesthete, has dipped into his big trunk and shared with us, in honor of this month’s “Eyes on October” theme, four beautiful pieces from his treasure trove. See photos of these artworks and enjoy John’s appreciative observations about them. We only have eyes for you, John.
BURT SHONBERG EXHIBITION, OHIO
On the occasion of the presentation of the first solo exhibition of the work of the California-based artist Burt Shonberg (1933-1977) in more than 50 years by the Buckland Museum of Witchcraft and Magick in Cleveland, Ohio, Sarah Fensom, brutjournal’s U.S.A. West Coast bureau chief, speaks with the show’s organizers and tells the complex tale of a maker of strange paintings influenced by the occult, the mythological, the extraterrestrial, and the psychedelic.
BACK TO THE APOCALYPSE WITH PAINTER NORBERT KOX
On the occasion of a retrospective exhibition of the late Norbert Kox’s paintings at the University of Wisconsin in Green Bay, the artist Cathy Ward, who knew the American artist and who showed her work alongside Kox’s and Eric Wright’s in London in 2008, offers a personal remembrance of Kox and his aesthetic-apocalyptic vision.
Coming later in October
Coming later in October
NEW YORK CITY STREET ARTIST: ART & CONTROVERSY
New York City: Late this summer, on the median strip of an avenue in downtown Manhattan, an apparently homeless artist began painting a broad sidewalk and the exterior walls of a city-owned utility building. Eventually, city officials stepped in and took drastic action. See the artist Jon Waldo’s exclusive photo essay.
THE VISIONARY BLIND ARTIST, HAWKINS BOLDEN
In retrospect, the Memphis-based, self-taught artist Hawkins Bolden’s powerfully stark mixed-media assemblages may be seen as postmodernist appropriationist creations avant la lettre. In fact, though, no theory motivated their maker. Instead, as a recent SHRINE gallery exhibition reaffirmed, Bolden was both a craftsman and a magician.
LONDON: OuPeinPo AND THE ART OF CREATIVE CONSTRAINT
The Ouvroir de peinture potentielle, or “OuPeinPo” (Workshop of Potential Painting), is an artistic movement created in France in 1980. Its participants place constraints on their art-making and then see what their methods might yield. From London, Nuala Ernest reports about an exhibition of these works at the bookartbookshop. Artwork, right: Helen Frank, “Quadrilateral portrait of Thieri Foulc,” 2021, cut-up drawing. About this work’s creative constraints, Frank notes, “Project of redressing the lines of a face: Adaption of the ‘Project of Redressing the Course of the Seine’ constraint used by Jack Vanarsky. The curved lines of a face have been cut into small sections so that the curve is short enough to be seen as a straight line. Instead of a single straight line, the face is given corners and is returned to its whole.”