在奥克兰的一家前汽车修理厂, 加州, 一个精神社区, 身体上的, 和 developmentally disabled artists gather on a daily basis to create 和 develop truly visionary bodies of art. 这个独特的场地是创意成长艺术中心的所在地, a non-profit visual arts space that was founded in the early 1970s by an artist 和 psychiatrist. The duo were frustrated by the limitations of traditional art-therapies 和 sought to find an alternative that would effectively nurture the creative process 和 improve the well-being of adult artists with disabilities through artistic expression. 创造性的发展, 由工作室艺术项目/工作坊和画廊组成, provides material support 和 encouragement to over 150 self-taught artists working in a variety of media, 包括绘画, 画, 木工, 和陶瓷. The organization is “dedicated to the idea that people with disabilities can gain strength, 通过视觉艺术获得享受和满足.” The outcome of fulfilling this mission over the past 36 years is remarkable – the creative impulses of thous和s of artists with special needs have been fostered 和 promoted in a serious context. 詹姆斯·特雷纳在 弗里兹 杂志, 他敏锐地观察到:“创意成长不是医院, 诊所,甚至是严格意义上的学校. 没有正式的指导, 和 there are no theoretical programs about how to educate the autistic or schizophrenic. 它是什么?, 是一个实验, 现在进入了第四个十年, 根植于北加州关于基层参与的独特理念, 集体创造力和社会变革, 给被剥夺公民权的人工具, 表达自己的空间和支持.”
这位艺术家s have exhibited their work at 创造性的发展’s gallery as well as galleries 和 museums around the world, 包括纽约和旧金山的现代艺术博物馆, 东京宫, 巴黎, 白色圆柱, 纽约, 和 are featured in a multitude of prestigious private 和 museum collections.
黑暗中的精神:来自创造性成长的艺术 作品特色 大卫·阿尔伯特森, 德怀特·麦金托什 (1906 – 1999), 丹•米勒, Aurie拉米雷斯, 威廉•斯科特 和 威廉•泰勒. 展出的作品展示了其中的一部分, 深度, 和 complexity of the art made at the Center whilst revealing the artists’ respective intuitive sensibilities, 和复杂的视觉语言. 这次展览的题目选得很恰当, “黑暗中的精灵” is taken from a song recorded by Aretha Franklin 和 Ray Charles in 1971. It is a poetic metaphor for the process which takes place at 创造性的发展. In many cases the individual’s exceptional talent has lain dormant for years or gone completely unrecognized, 甚至在某些情况下,他们一生中的大部分时间. 通过提供支持和鼓励, this program not only allows these artists to finally realize 和 express their innate gift for art-making but also brings their extraordinary work into the world.
大卫·阿尔伯特森, a Mexican-American artist in his late twenties, works primarily with pastel on paper. His whimsical almost psychedelic-like 画s portray his instinctive sense of color 和 composition. 色彩的活力, emphasis on symmetrical patterning 和 a decorative quality evoke the traditions of Mexican Folk Art. Albertsen’s work has been exhibited at White Columns, 纽约 和 the NADA Art Fair in Miami.
德怀特·麦金托什 麦金托什(1906 - 1999), identified by the art historian John McGregor as a great American “Outsider” artist, began his art career at 创造性的发展 after spending over 55 years in institutions. 在他任职期间, 他创作了包括素描在内的大量作品, 绘画, 版画和陶瓷. Mackintosh primarily creates linear ‘x-ray’ like 画s of male figures often combined with repetitive mostly unintelligible text drawn in a fluid cursive style, 暗示一种通过艺术创作的交流方式. Mackintosh’s work has been exhibited internationally 和 most recently at ABCD Collection, 巴黎和加文·布朗的事业, 纽约.
丹•米勒 (b.1961) has few verbal skills, yet has created a body of work that uses language as its foundation. His ink on paper 画s feature overlaid accumulations of recurring words (certain objects like light bulbs, 工具及电源插座, 最受欢迎的是城市名称和食物种类。, 字母, 和数字, with the densely layered lettering ultimately rendering the text mostly illegible. The resultant all-over compositions juxtapose controlled 和 expressive styles, revealing Miller’s innate formal sensibility 和 reverberate with art historical traditions. 这位艺术家’s work has been most recently exhibited at Ricco/Maresca Gallery 和 Wallspace Gallery, 并在White Columns展出, 加文·布朗的事业, 以及现代艺术博物馆, 纽约. 米勒的作品被现代艺术博物馆永久收藏.
Aurie拉米雷斯 (b. (1962)在过去的二十年里, Ramirez has developed a visionary body of work featuring mostly watercolor 和 ink 画s that, 让人想起自学成才的艺术家亨利·达格的作品, 是由反复出现的角色和叙述构成的吗. 这位艺术家, 谁不进行口头交流, 有广泛的灵感和兴趣-来自亚当斯家族, 摇滚乐队Kiss, Glam 和 Punk Rock to 18th century Victorian d和ies 和 suburban 加州 ‘modernist’-style interiors. Ramirez’s work has been exhibited in shows at White Columns 和 加文·布朗的事业, 纽约, 杰克汉利画廊, 洛杉矶, 在当代, 明尼阿波里斯市, ABCD在巴黎, 布鲁特艺术收藏, 洛桑, 和Confort-Moderne, 普瓦捷, 法国.
威廉·斯科特的 (b. 1964) highly detailed 和 richly imaginative practice is composed of two parts: portrait works, 以斯科特, 朋友, 亲戚, 和 invented characters involved in real 和 imagined episodic scenarios that are situated within his 社区 of Hunters Point in San Francisco (most moving are those in which Scott envisions a life without his disability, i.e.如篮球运动员、警察等.), 和 architectural renderings of an idealized imaginary version of San Francisco he calls “Praise Frisco.描述斯科特工作的影响, 马修·希格斯, 白栏主任, 他写道:“虽然植根于个人经历, 威廉·斯科特的作品最终解决了关于身份的普遍问题, 社区, 信仰, 我们每天都要面对现实的挑战.” Scott’s work has been exhibited at White Columns 和 加文·布朗的事业, 纽约 和 in a solo museum exhibition (curated by 马修·希格斯) at 东京宫, 巴黎.
威廉·泰勒的 (b. 1954年)的作品主体也是由一个持续的虚构叙事组成的, 这次的主角是泰勒和他的双胞胎兄弟理查德. 这位艺术家, who makes a 画 a day, has created a fictive parallel reality he calls “Greatl和.” The 画s depict the ongoing adventures of the brothers in this utopian world along with descriptive texts, 占据大土地的房屋的外部和内部, 医院内部, 风景, 餐厅, 魔术表演等. The complexity of the patterning 和 composition of these extraordinary ink on paper 画s demonstrates Tyler’s exceptional skill 和 acute perception of the world. Tyler’s work has been featured at the NADA art fair, Miami 和 at 加文·布朗的事业, 纽约.