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艺术ist Grandma Moses and Galerie St. Etienne founder Otto Kallir on the front porch of the painter’s house in Eagle Bridge, New York (1944) (photo © Grandma Moses Properties Co., New York, all images courtesy Galerie St. Etienne, New York)

在20世纪80年代,某些纽约艺术经销商非常强烈地向炒作机进行了重新调整,其纯粹的卷使他们的销售投资不可能忽视。他们的营销策略似乎是:喊 - 或夸耀 - 大声谈论你的商品,更广阔的艺术世界将坐下来注意到。它的遗产今天可以在过度通气夸张中找到,仍然占据了许多画廊的新闻稿。

By contrast, a long-established venue like Manhattan’s Galerie St. Etienne has quietly weathered years of critical storms and avoided the fickleness and fad-chasing that often numb the art world’s collective consciousness. Instead, it has insisted almost stubbornly on a way of thinking about, presenting, and promoting art that puts an understanding of its aesthetic value — and pointedlynot它的货币值得 - 首先,支持其勤奋的研究和对老式鉴赏的欣赏展览。金博宝188app这是一种方法在今天营销驱动的艺术世界的一些区域中可能似乎是彻头彻尾的外星人。

Still, the gallery’s managers must have been doing something right, for it is now celebrating eight decades of continuous operation withLooking for America,一个展览金博宝188app将于7月3日留下视图。其中,其中,其中,约翰·凯恩,爱德华·赫克斯,莫里斯赫菲尔德,亨利·米尔·罗伯逊(“奶奶”)摩西,这是一系列第一个演示文稿Galerie St. Etienne将于今年举办纪念其80周年纪念日。这个小组在自学讲授的艺术家展示了这一组。

Anonymous, “Lincoln’s First Cabinet” (circa 1861), oil on cardboard, 11 7/8 x 15 3/4 inches

Over the course of its history, the gallery has exhibited everything from the modernist paintings, drawings, and prints of such European artists as Gustav Klimt, Oskar Kokoschka, Egon Schiele, and Käthe Kollwitz (German-Austrian Expressionism has been one of its specialties), to the New England folk art of Grandma Moses, the outsider art of Darger, and the unabashedly political drawings and prints of the British-American contemporary artist Sue Coe.

“On August 22, 1939, my grandfather, Otto Kallir, landed in New York, along with my grandmother, father, and aunt,” Jane Kallir, the gallery’s current director, writes in the exhibition pamphlet that accompaniesLooking for America。Otto and his family, she adds, “had made it out of their native Austria a mere three months after the Nazi Anschluss [annexation of Austria] in 1938.” By November 1939, Otto opened his new Galerie St. Etienne in Manhattan, the successor to the original Neue Galerie he had earlier founded in Vienna.

She continues, “Galerie St. Etienne’s opening exhibition,奥地利大师那was dismissed as ‘quaint’ by the New York press,” whose estimation of the works of Klimt and Schiele was discouraging.” Conversely, Kallir writes, New York’s contemporary-art scene struck her grandfather as being “impossibly provincial,” prompting him to remark, “It reminds me of Berlin in 1918, with all the speculative snobbism and lack of understanding.”

虽然,奥托凯莉尔坚持不懈。“我的祖父们非常不拘称,”Jane Kallir在画廊采访时告诉我,现在位于西57街。她指出,“一次,他甚至展现了一个仙人掌的展示。”

Anna Mary Robertson Moses (“Grandma Moses”), “Bringing in the Maple Sugar” (1940), oil on pressed wood, 14 x 23 inches, private collection

奥托的兴趣之一是20世纪初是“原始”艺术的初期所着创的。1940年初,收集者向他展示了一些未经训练的艺术家在东北发现的一些作品,Kallir特别吸引了Anna Mary Robertson Moses(1860-1961)的绘画,从生动地描绘了农村生活。那一年晚些时候,他给了自我教学的艺术家一个独奏秀,什么是农田画

One review noted that the painter was known in Eagle Bridge, her upstate New York hometown, as “Grandma Moses,” and the moniker became her indeliblenom d’artiste。Kallir wrote the first book about Moses, who would go on to become the best-known American folk artist ever; it was published in 1946. In the early 1970s, his catalogue raisonné of her oeuvre appeared.

奥托卡莱尔于1978年去世,孙女简吉尼接管了他的长期“秘书”这是Bachert,他的家人也在20世纪30年代逃离了纳粹,奶奶摩西决定了成为画家的自传的回忆,我的生命历史(1952). Bachert also contributed substantially to the Moses catalogue raisonné.

Jane Kallir studied art history and studio art at Brown University, in Providence, Rhode Island, and also took art courses at the Rhode Island School of Design. “When I became co-director,” she recalled, “after having worked at the gallery since the previous year as a ‘junior secretary,’ it was at a point of near-dormancy that had coincided with the decline of Otto’s health. By that time, its main commercial activity seemed to be selling its old exhibition catalogs.”

约翰凯恩那“John Kane and His Wife” (circa 1928), oil on canvas, 23 x 23 inches, collection of Frank Tosto

简意识到画廊必须重新建立它的身份,但进入20世纪80年代,她既没有资源也没有倾向于努力提高其概况。相反,她和Bachert组织了一系列展览,该展览会重新审视主题,其中画廊深受盛会,包括德国 -金博宝188app 奥地利的表现主义和奶奶摩西的工作,经常借用它已经卖掉了几十年来的被忽视或被驳回,但现在被认为是他们的类型的象征。

“所有这些纪念显示目录,were co-published with major trade publishers,” Jane Kallir recalled, adding, “No gallery was doing this at that time. We also produced and sold widely distributed posters for each of those exhibitions.”

In time, Galerie St. Etienne landed representation of the estate of Henry Darger (1892–1973), the reclusive, Chicago-based autodidact who became posthumously famous for在虚幻的领域那his epic narrative filled with Victorian-era girls in good-versus-evil battles, and for a large group of mixed-media pictures related to it. In the 1980s, the artist Sue Coe bought a Käthe Kollwitz print from Galerie St. Etienne and got to know its unusual exhibition program. Sometime after leaving P.P.O.W., a high-profile contemporary-art gallery in Manhattan, she asked Kallir if she could join Galerie St. Etienne’s group of artists.


Henry Darger, “Child Nurse, General Wienstein, and Gerald Starring” (circa 1915-25?), poster paint and newsprint collage on cardboard, 13 1/2 x 15 inches


Looking for Americafeatures such emblematic examples of American art as Grandma Moses’ “Bringing in the Maple Sugar” (1940, oil on pressed wood), whose air of urgent communal labor is tempered by the sprightly play of two children dancing in the snow, oblivious to the busyness around them. Also on view is “John Kane and His Wife “ (circa 1928, oil on canvas), a double portrait by the Pittsburgh-based painter John Kane (1860-1934), who was born in Scotland and immigrated to the US, where he worked on the railway and in coal mines, and first started painting on cast-off boards.

“Opera Girl” (1941, oil on canvas), by the New York garment-industry worker Morris Hirshfield, aspires to some kind of elegant chic, despite the amusingly impossible proportions of its subject’s stylized hands, which clasp a luxurious red cape. Also on display are preliminary drawings whose designs Hirshfield traced or pin-pricked onto his paintings’ surfaces.

莫里斯·洪堡那“Opera Girl” (1941), oil on canvas, 39 3/4 x 28 inches, collection of Josh Feldstein

Jane Kallir在展览的小册子中写道,“他最好金博宝188app的自学艺术家以与培训的同事相当的方式工作。”她指出,他们的创作“值得以相同程度的学术严谨程度”为他们的“专业”同行。

“Lincoln’s First Cabinet” (circa 1861, oil on cardboard) seems to prove that point. However off-kilter it might now appear, in its time, the rich detail furnished by its anonymous maker may well have helped it serve as a valuable document of an emerging, self-conscious historical moment.

In 2017, Otto Kallir’s family established theKallir Research Institute是一个不断追求艺术历史研究的非营利基础,历史悠久的历史研究是众所周知的。在其项目中:创建在线目录RaisonNés为Schiele,奶奶摩西和奥地利画家Richard Gerstl(1883-1908),这是一种心理强烈肖像制造商。

For now,Looking for America——关注g之间的多样性roup of self-taught artists whose careers collectively spanned more than a century, also celebrates some of the variety of the gallery’s aesthetic concerns. In honoring its founder’s interests and legacy, it serves as a reminder that, sometimes, the dogged pursuit of a personal vision can be a more potent force than noisy self-promotion for expanding a modest commercial enterprise into an enduring institution.

Looking for Americacontinues at Galerie St. Etienne (24 West 57th Street, Midtown, Manhattan) through July 3.



爱德华M.Gó a graphic designer, critic, arts journalist, and author or co-author of numerous books about art and design subjects, including Le dictionnaire de la civilisation japonaise, Yes: Yoko Ono, and The Art of...