9 x 13 inch catalogue published on the occasion of solo exhibition at La Maison Rouge in Paris, 2006. Text both in English and French.

Sound and Fury: The Art of Henry Darger

Edward Madrid Gomez

Andrew Edlin Gallery

When the reclusive American janitor Henry Darger died in 1973, he left behind an unprecedented body of drawings, scroll-like watercolors and a 15,000 page novel called The Story of the Vivian Girls, in What Is Known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion. Discovered by Darger's landlord, these works--which are populated largely by trans-gendered and often partially clothed girls who war righteously against evil adults and monsters--are now universally considered some of the most important and interesting artworks by any self-taught artist in modern history. In 2006 La Maison Rouge in Paris opened the most extensive exhibition of Darger's work ever in Europe. This second edition of the exhibition catalogue features a selection of classic works, as well as an essay by Edward Madrid Gomez, who writes, "Knowing what we know about this loner's life, it seems that no one else but Darger could have produced it, in the same way that we cannot imagine the ground-breaking works of such artists as Beethoven, Picasso, Wolfli or Joyce emerging from the minds or spirits of anyone else except these geniuses, whose talents have helped define just how far-reaching and accomplished artistic creativity can be."

Arts & Photography

Gomez, Edward

History & Criticism

Die Nazi Scum: Soviet TASS Propaganda Posters 1941-1945

Politics & Social Sciences

Xenia

Telegrafnoe agentstvo SSSR

Andrew Edlin Gallery Vytuleva

Politics & Government

Catalogue to accompany the exhibition "Ralph Fasanella: A More Perfect Union" at Andrew Edlin Gallery

Ralph Fasanella: A More Perfect Union

Erika Doss

Fasanella, Ralph

Since his death in 1973, Henry Darger, janitor, orphan, writer and artist, has found increasing posthumous fame as an artist of influence, particularly for a generation of North American artists born in the late 60s and early 70s, such as Marcel Dzama, Justine Kurland, Justin Lieberman and Amy Cutler, who have drawn on his colossal oeuvre of drawings and writings, and his bizarre world of transgendered and often partially clothed girls warring against evil adults and monsters, in order to evolve their own worlds of similarly fantastical imagery. Several landmark Darger exhibitions and a hit documentary film (In the Realms of the Unreal) have continued to disseminate his work to wider audiences, rendering the persistent epithet of "outsider artist" almost meaningless. All Darger monographs become rarities with incredible rapidity, and this new hardcover edition of the Andrew Edlin Gallery's excellent introduction to Darger will prove no exception. It contains new and improved images, an updated introduction and updated sections on Darger's exhibition history and public collections. In an accompanying essay Edward Madrid Gómez writes: "knowing what we know about this loner's life, it seems that no one else but Darger could have produced it, in the same way that we cannot imagine the ground-breaking works of such artists as Beethoven, Picasso, Wölfli or Joyce emerging from the minds or spirits of anyone else except these geniuses, whose talents have helped define just how far-reaching and accomplished artistic creativity can be." Henry Darger was the author of drawings, watercolor scrolls and a 15,000 page novel called The Story of the Vivian Girls, in What Is Known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion.

Sound and Fury: The Art of Henry Darger: Third Edition (ANDREW EDLIN GA)

This is the catalogue for the first retrospective of drawings by Victor Moscoso (born 1936), one of the preeminent graphic artists of the 20th century, who is widely renowned for his 1960s psychedelic posters and comics. Moscoso began designing posters for rock shows in San Francisco in 1966, and quickly developed a signature style in which opposite hues of the same intensity sit next to each other to create a visual "vibration" effect. This book is the first to present the full range of Moscoso's drawings for posters and comics, including original renderings for his renowned cover of Zap Comix 4 (1969), the Hocus Pocus story, posters for The Doors and The Who, and other seminal published editions. These works reveal Moscoso's dedication to expert draftsmanship in the service of graphics, as well as his graceful approach to drawing everything from dinosaurs to spaceships to humans.

Victor Moscoso: Psychedelic Drawings 1967-1982 (ANDREW EDLIN GA)

Norman Hathaway

Individual Artists

"Von Bruenchenhein belongs among the great American outsider artists." -Roberta Smith, The New York Times 
King of Lesser Lands traces the fugitive career of Eugene Von Bruenchenhein (1910–83), a prolific creator of a diverse range of distinctive images and sculptural objects, who produced his art in private over a period of about 50 years at his home in Milwaukee, Wisconsin. His large and unusual body of work was not discovered until after he died.
In 1939, at the age of 29, Von Bruenchenhein met Evelyn Kalka. She became his wife and muse. Evelyn, who was nicknamed “Marie,” served as his model and the subject of thousands of erotic photo-portraits, which he shot and printed himself. For these images, which emulated girlie-magazine pinups with an offbeat air, Von Bruenchenhein designed and created his own background sets and costumes for Marie.
Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or cardboard taken from packing boxes at the bakery where he worked. Von Bruenchenhein’s abstract explosions of vibrant color evoke the forms of strange plants or fantasy creatures and architectural structures. Later, Von Bruenchenhein used clay to produce home-fired crowns and vases, and also created mysterious sculptures resembling towers or thrones with chicken and turkey bones.
During his lifetime, only his closest family members and friends knew anything about his artistic pursuits. In 1983, after the artist’s death, one of his friends called the attention of the Milwaukee Art Museum to Von Bruenchenhein’s extraordinary oeuvre.
On the occasion of a 2010 survey of his work at the American Folk Art Museum in New York, Roberta Smith wrote in The New York Times: “Von Bruenchenhein belongs among the great American outsider artists whose work came to light or resurfaced in the last three decades of the 20th century.” Smith placed Von Bruenchenhein’s unusual art in the company of that of Henry Darger, Martin Ramírez, Bill Traylor, James Castle and Morton Bartlett.

Eugene Von Bruenchenhein: King of Lesser Lands

Paulina Peavy: Etherian Channeler

Whitcomb, Laura

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