Art, art brut, Charles Smith, Eugène, Fulvio Di Piazza, Gerard Mas, Gregory Warmack, Halle Saint-Pierre, Hey #4, Lee Godie, Masayoshi Hanawa, Montmartre, Mr. Imagination, Nils Bertho, outsider art, Rise and Rise Again Until Lambs Become Lions, The Kid
Rain was forecast for Monday so I looked for an indoor activity. Most museums were closed, either because they always close on Monday or because it was a jour férié (the Day After Pentecost). I decided to see two exhibitions of outsider art (art brut) at Halle Saint-Pierre, in part to avoid taking yet another exhibition off the shared-interest list with Eugène.
The scene when I emerged from the métro at Anvers was hideous: mobs of Sacré-Coeur tourists (and people who prey on tourists) crushing in from all sides. I had never been to Halle Saint-Pierre but it seemed to be in a dreadful location, just a block off the main tourist track. But it proved instead to be a haven of French hipsterdom.
The museum had two exhibitions, both on through August 2. The first was a retrospective of outsider art from Chicago over the past seventy-five years and the second was called “Hey #4, Modern Art and Pop Culture”. I approached the Chicago exhibition with skepticism, and came away with the somewhat condescending perspective that this is the art that America deserves in the Age of Trump.
The second exhibition, however, caught me by surprise. Hey #4 offered a wide variety of works, characterized by vividness, audacity and creativity. While popular, to be sure, much of this work was in no obvious way inferior to the art in a contemporary gallery or museum. Here are some glimpses:
This is only a taste! If you like some or all of these and would like to see a broader selection, please check out my Hey #4 Photo Set.