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March 20, 2023

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Arts Arts Portal Lead Arts Arts Top Story

Meeting Rebecca Hoffberger by Mary McCoy

March 17, 2020 by Mary McCoy

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Imagine the thrill for an artist like me when the director of a major museum made a point of congratulating me on one of my sculptures. I can still see her back then in 2011, a small, sparkly woman with long blond hair and an oversized glittering necklace looking up at the shiny, tattered, slightly muddy, beribboned string of stray balloons I had draped back and forth across the corner of the gallery. That was how I first met Rebecca Hoffberger, of the American Visionary Art Museum.

The truth was, however, that meeting her at a reception for an art show at Howard County Center for the Arts wasn’t exactly going to advance my career. Her museum exhibits the work of people who, unlike me, haven’t been to art school and don’t show their work in galleries. Instead, they make art because of a burning need in their spirit.

On February 21, the Spy partnered with the Academy Art Museum to present a talk by Hoffberger. In this overview of the AVAM’s history and mission, she made it clear that she feels there’s more to art than what we normally see in white-walled galleries and urged us to think less about the finished product and more about art as an open-ended, no-holds-barred investigation and celebration of what our world is all about. You can find out more in these two articles here and here on the Spy, but what I want to do here is tell you more about Hoffberger herself.

She’s a visionary. There are plenty of articles online that will tell you about her colorful life and how her response to the paintings and drawings of institutionalized psychiatric patients sparked her ideas for the museum. Deeply moved by the passion behind their raw creativity, she felt a compulsion to establish a venue where art born of an intuitive need for creative expression could be seen and considered. Recognizing art as a basic human need, the AVAM has dedicated itself to art that follows “the intuitive path of learning to listen to the small, soft voice within.”

I’m an art critic, as well as an artist, and in spending many years looking at art and talking with artists, I’ve been continually reminded that almost all artists do begin by listening to that “small, soft voice,” but too often, we’re pulled off track. In our culture, to earn your stripes as a “real” artist, you pretty much have to attend art school and be indoctrinated in (mostly Western) art history, then build a substantial resume of gallery exhibits, grants, awards and residencies, and remember to use words like “ontology,” “visceral” and “deconstruction” whenever possible. These expectations have made contemporary art into an insular, privileged activity. There’s too much background knowledge required for most people to appreciate gallery art, much less enjoy it.

Hoffberger doesn’t bother with that kind of stuff. She keeps a very active eye out for people who just plain need to make art, whether they call it art or not, and this is what sets the AVAM apart from most art museums. For example, my friend, Trams Hollingsworth, who is a gardener and rescuer of eagles, raccoons and crows, is a featured artist in the AVAM’s current exhibit, “The Secret Life of Earth: Alive! Awake! (and Possibly Really Angry!). When I asked her how Hoffberger knew about the pigeon skeleton she lent for the exhibit, she said she had made it her business to befriend Hoffberger after a trip to the AVAM bowled her over.

“I stalked her,” she explained. “I started writing these love notes, like ‘You taught me so much in one day and I can’t teach you anything except how to do nothing and I’m pretty sure you’re not very good at that.’ Then we started corresponding and then maybe five years ago there was this really big snow storm. I got a call and she said, ‘This is Rebecca and I’m really tired and I want to take your Master’s course in doing nothing. I’m gonna get snowed in with you.’ And she did—five days snowed in.”

Rebecca Hoffberger has that effect on people. She makes you look at things differently, and like any good teacher, she is not aloof and never hesitates to ask whatever she likes. So at a small party at Trams’s house the evening before Hoffberger’s talk, when she overheard me say something to Trams about the aftereffects of having had brain surgery, she broke off her own conversation to ask, from across the room, how the experience had changed me. A brief conversation and a few days later, I found myself having lunch with Pat Bernstein, who had also undergone brain surgery. We had a fascinating talk comparing notes about how my experience had led me to lose my fear of spiders, heightened my appreciation of being alive, and made me hate sugary food, while hers had caused her to suddenly start seeing faces in trees and rocks. Impelled to document them, she had gone to Hoffberger for suggestions on how to share the resulting series of photographs with the public and ended up with her photos included in the AVAM’s “Earth” show.

Hoffberger’s talk at the Academy Art Museum was titled “Welcome to Wonder,” as apt a description of her outlook as of the AVAM’s infectious celebration of awe, outrageousness, pathos, obsession, and joy. Quick of mind and full of enthusiasm, she’s also full of stories. Spurred by her warmth and openness, I overcame my shyness and invited her to visit our studio the next day on her way back to Baltimore. It was a quick visit, but before it was over, she had shared anecdotes about the children’s train at the Wanamaker store in Philadelphia, Ronald Reagan’s psychic, Ohio’s Serpent Mound, how corn developed from a grass-like plant bearing a row of tiny pyramid-shaped kernels, and how pawlonia trees absorb eleven times more carbon dioxide than other trees.

We did a thorough tour of the studio as we talked, but we didn’t look at the sculpture she liked back in 2011. It’s currently stuffed into a big bag, but it has doubled in length since Hoffberger saw it. I feel kind of like one of her visionary artists who are impelled to make art because I can’t help but continue working on it. It irks me that I’m forever finding wayward balloons caught in the stubble in the fields of my family’s farm and tangled in the marsh grass along the river, so I tidy them up, carry them back to the studio, and incorporate them into what is now a nearly 50-foot-long sculpture. I’ve exhibited it four times so far and hope to do so again because, as Hoffberger and her museum have reminded me, we need to follow that urge to make art.

My personal soapbox is for the environment, but as a trip to the AVAM will bear out, there are myriad ways that art can help us examine the realities of life. More than simply a means of celebrating beauty and creative skills, art is a process through which we can explore, clarify and inspire a sense of value in shared social and spiritual significances. In our age of fractured relationships, confused priorities, hate-mongering, population pressure, and environmental degradation, we need plenty of art. We need to do what Hoffberger and the AVAM advocate and tune our senses so that the “small, soft voice” can be heard.

Mary McCoy is an artist and writer who has the good fortune to live beside an old steamboat wharf on the Chester River. She is a former art critic for the Washington Post and several art publications. She enjoys the kayaking the river and walking her family farm where she collects ideas and materials for the environmental art she creates, often in collaboration with her husband Howard. They have exhibited their work in the U.S., Ireland, Wales and New Zealand.

Filed Under: Arts Portal Lead, Arts Top Story Tagged With: Rebecca Hoffberger

At the Academy: Visionary Artists in the 21st Century with Rebecca Hoffberger

March 3, 2020 by James Dissette

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A lecture on “visionary artists” by Rebecca Hoffberger, founder and director of the American Visionary Art Museum in Baltimore, was hosted by the Talbot Spy and Academy Art Museum on February 21.

Hoffberger is the founder and director of AVAM and oversees the revolving exhibitions that explore the universe of self-taught artists, those with a consuming need to create art out of anything at hand—from matchsticks to a 55ft wind-driven whirligig and celestial mosaics made out of broken glass, human torsos formed with piano hammers or floral arrangements made out of old radio vacuum tubes.

Brut art, raw art, naive or “outsider art” is found outside the formalism of trained artists and art galleries. Often, they are constructions made of materials at hand by people who do not think of their work as art or that they are artists. Natural shapes of wood, shards of broken, colored glass, toothpicks, feathers—virtually anything—are fashioned into wildly expressive imaginary compositions. Hoffberger is clear to not misapply the term “outsider art,” pointing out that it was early vocabulary used to describe creations by the mentally ill, those fully excluded from society.

To a packed lecture hall at the Academy Art Museum, Hoffberger described her journey creating a museum to showcase visionary art as a kind of necessary mission born out of her work with psychiatric patients at Sinai Hospital’s People Encouraging People program. It was there she took a keen interest in the imaginative works of the patients and saw their creations as an “evolutionary force of imagination.”

Hoffberger’s search to create a museum of her own led her to the Collection de l’art brut in Lausanne, Switzerland during the 1980s where most of the exhibit is comprised of “outsider art.” Visionary art, hence Visionary Art Museum, is more expansive and includes unique works by untrained artists, may they be carpenters, farmers, anyone who is driven to create something personal and sublime.

Hoffberger is a passionate lecturer and draws from a wide-ranging and eclectic knowledge of the art world. She can dovetail a quote by existentialist philosopher Martin Buber and the poet Rumi with a futuristic painting drawn with colored pencils and include a personal story about an artist who quilted scenes about the Holocaust.

The AVAM director guided the audience through her 25-year journey with a slide presentation exploring the wide spectrum of visionary art, how she managed to get the 7 million dollar museum in Baltimore on its feet, and begin searching for the raw masterpieces on exhibit there. More about this can be found in a previous article in the Spy.

This video is approximately eight minutes in length. For more information about the American Visionary Art Museum, go here. For more information about the Academy Arts Museum in Easton go here.

 

Filed Under: Arts Portal Lead, Arts Top Story Tagged With: Rebecca Hoffberger

At the Visionary Art Museum with Founder Rebecca Hoffberger by Jim Dissette

January 21, 2020 by James Dissette

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Recently, the Spy crew trekked to Baltimore in search of a pigeon skeleton. Yes, really. But there was a method to our madness: the skeleton was on loan from Chestertown resident Pat Trams Hollingsworth and placed as an iconic symbol greeting visitors to the new environmental exhibit at The American Visionary Art Museum.

American Visionary Art Museum Founder and Director, Rebecca Hoffberger noticed the skeleton while visiting Hollingsworth’s home in Chestertown and knew instantly that she wanted it to be part of the new 25th annual exhibition she was curating.

“Rebecca saw the bird skeleton —a learning tool I once used to prepare for a dreaded veterinary tech exam—and off she went with it. It was one of those eureka moments, and she has lots of them. I was fascinated with how she was going to include it,” Hollingsworth says.

The Spy team found the bleached and brittle armature accompanied by a porcelain pigeon in a glass case installed along the entry corridor to the amazing American Visionary Art Museum. The placard above it recalled Hamlet’s existential question, “To Be or Not to Be, That is the Question”, an elegant choice given that AVAM’s new exhibit, “The Secret Life of Earth: Alive! Awake! and (Possibly Really Angry!),” challenges visitors to engage in critical questions about our relationship to the environment that sustains life on Earth.

But first: if you have never visited the American Visionary Art Museum, it’s unlike any museum you’ve experienced. You won’t find the trained classicists or hear the reverential whisperings of art admirers. Instead, AVAM is dedicated to art that is rowdy, poignant, haunting and joyous, a collection of unschooled masterpieces from the hearts and minds of individuals who worked out their visions with materials at hand. For example, a centerpiece for the permanent collection has a detailed 15 ft. replica of the Lusitania made out of 200,000 toothpicks as two human figures shaped out of hundreds of wood and felt piano hammers convene silently together.

However, the new environmental exhibit is not a bludgeon wielded by political or environmental activists. It is a collection of personal visions by individuals who would not even consider themselves artists, using materials at hand. It is an invitation to explore our environment through alternative perspectives and along the way to muse over the simple scientific facts of the challenges we face if we continue to ignore the ecological emergencies at hand. Even the ramp to the exhibit begs a fundamental question—hundreds of plastic items collected from a single beach in California are suspended from the corridor ceiling. On the wall, a text panel history of plastic. How will we deal with with an ocean choked by discarded plastic and drinking water suffused with hidden threat microplastics now being detected in humans all over the world?

The Spy was lucky to have as their guide Founder, Director and curator of the exhibit, Rebecca Hoffberger whose knowledge about each of the “artists” and their works reveal the depth of her dedication to the exhibit at hand and the overall mission of AVAM. Hoffberger led us through the labyrinth of exhibits describing their origin, the artist, and how she felt it shaped the conversation we must have about our environmental crisis.

But what are we looking at when we see giant green gorillas fashioned from fiberglass, beads, and plants, or a wax rubbing of a crosscut of a tree compared with a human fingerprint, and why does it move us so different from the art spaces of other museums?

Understanding AVAM’s mission is to understand Hoffberger’s original interest in creating a space for art created outside the classical world of classically trained artists.  In her mission statement, she wrote, “Visionary art as defined for the purposes of the American Visionary art Museum refers to art produced by self-taught individuals, usually without formal training, whose works arise from an innate personal vision that revels foremost in the creative act itself.”

In the mid-eighties, Hoffberger was employed as the Development Director of People Encouraging People, a program of the Department of Psychiatry at Sinai Hospital in Baltimore, and it was there she became impressed with patients’ elaborate imaginations. She wondered how she could showcase these alternative visions, not as an illness but as a strength. Were there galleries or museums showcasing this kind of personal vision? She and her future husband and museum co-founder LeRoy E. Hoffberger decided to visit French artist Jean Dubuffet’s Art Brut Museum in Switzerland where the largest collection of anti-cultural Art Brut (raw art) was exhibited, including the intense and intricate work of psychiatric patient Adolf Wolfli. Impressed with the collection and its simple exhibition style, the two returned with ideas for a museum that would widen and redefine the “outsider’ genre to include “intuitive creative invention and grassroots genius.”

Intense fundraising efforts were begun. The City of Baltimore helped with acquiring a place, Senators Barbara Mikulski and Bob Dole were early supporters of the effort including getting a Congressional resolution designating the museum as America’s official national museum. The museum design was created by architect Rebecca Swanston and artist and designer Alex Castro who later became Director of Washington College’s SandBox project in Chestertown. AVAM held its grand opening in 1995 and the accolades have poured in ever since. CNN described the museum as “…one of the most fantastic museums anywhere in America…”

“The Secret Life of Earth” exhibit of 88 artists is a perfect manifestation of AVAM’s mission. Johanna Burke’s mixed-media “Another Green World” shares equal billing with every other artist from Brian Pardini’s found driftwood sculptures to Santiago Navila’s video installation “Untitled” and Julia Butterfly Hill’s journal entries from her 738 consecutive days perched in a California redwood tree to defy a lumber company and its threat to clear cut old-growth redwoods. There is no promotion of gender, race or ethnicity, and Hoffberger is adamant about keeping it that way.

The Spy found the delicate pigeon skeleton from Chestertown and it pointed the way to an extraordinary and personal journey guided by visionaries whose directness and self-taught raw talent stunned us into a visceral connection to the primal network of life we threaten with our abuse and denial.

Pioneer in time-lapse cinematography Louis Schwartzberg once said that “beauty and seduction, I believe is nature’s tool for survival, because we will protect what we fall in love with.” The American Visionary Art Museum’s “The Secret Life of Earth” exhibit is no less than an illuminated path to the heart of our environmental dilemmas. It’s a braid of science and raw vision without sermonizing and dedicated to the awakening of all who long to curate, protect, and love the world we need to survive.

James Dissette a contributor to  the Chestertown Spy and Talbot Spy, a Washington College graduate, and was awarded the school’s Sophie Kerr Prize for Literature in 1971.

The Secret Life of Earth” special exhibit will be available until September 6, 2020 For hours, ticket prices and more information about The American Visionary Art Museum, see their website here. The Spy and the Academy Art Museum will host a lecture by Rebecca Hoffberger on February 21th starting at 6 pm. For ticket information please go here.

Don’t miss the latest! You can subscribe to The Talbot Spy‘s free Daily Intelligence Report here. 

Filed Under: Arts Portal Lead, Arts Top Story, Spy Top Story, Top Story Tagged With: Chestertown Spy, Rebecca Hoffberger, Talbot Spy

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