After World War I, artists without formal training “crashed the gates” of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson “Grandma” Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.
About the Author
Katherine Jentleson, PhD, is the Merrie and Dan Boone Curator of Folk and Self-Taught Art at the High Museum of Art in Atlanta.
"Gatecrashers is an important contribution and corrective to our understanding of the history of American art in the crucial decades before and after the Second World War." — Burlington Magazine
"Gatecrashers successfully destabilizes received binaries, giving us crucial new insights into familiar 'representatives' of the self-taught moniker, which in turn complicate that status." — caa.reviews