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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.
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 rac
"The Gate Crasher knew what lay before him: He must descend into hell and pull the devil's teeth. It was Clyde Barrow versus Fort Knox. Roseanne versus Denny's
Madeleine Wickham is Sophie Kinsella, and The Gatecrasher is just as delicious as her internationally bestselling Shopaholic series. Everything's coming up rose
Her estranged mother's death brings Kat Somerville back to Comfort Notch, New Hampshire, a home town she can barely remember. As she and her daughter Sybil try
It’s Christmas 1984 in Manchester and seventeen year old Nick Hopper has devastating news on his mind. Rather than reveal his tragedy to school mates in their