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Art Preserve

Artists Included in the SPACES Archives Collection

Neil Averill
Calvin and Ruby Black
Bobby A.
Nek Chand
Francis Coonan
Fred and Margaret Crooks
Sanford Darling
John Ehn
Joan Sala Fàbrega
Jonn Fagot
Rosemary Ferris
Gary Fink
Ed Hardy

Davey Jones
Jose Fuster
Romano Gabriel
Jose Giralt
Francisco Gonzalez Gragera
Tommy the Greek
Irene Hall
Larry Harris
B. Hart
Himsl & Haas
Horst
Jesse Howard
Leonard Knight

Juanita Leonard
Leonardo Lynn
Remei Mulleras
Suzanne Palmer
Emelio Perez
Tressa Prisbrey
Josep Pujiula
Emile Ratier
Audrey Garcia Rawlings
George Ray
W. C. Rice
Gabrial Romano
Seymour Rosen

Ed “Big Daddy” Roth
Richards Ruben
Joan Sala
Robert E. Smith
F. Vans
Linda Warren
unknown artists (multiple)

Artists Included in the Lenore Tawney Collection

Stephen Alookee
Rose Antone
Hannelore Baron
Bill Bomar
George Buehr
Barbara Christie
Tony DeLap
Ruth Duckworth
Stephen Durkee
Wharton Esherick

Maija Grotell
Juan Hamilton
Michael Higgins
Margo Hoff
Ferne Jacobs
Karen Karnes
Sherry Kerlin
Sinikka Laine
Lucy M. Lewis
Stig Lindberg

Kirk Mangus
Ivan Mischo
Alexandra Randall
Jacquelyn Rice
Edith Isaac Rose
Ben Shahn
Carl-Harry Stålhane
Bob Stocksdale
Del Stubbs
Lino Tagliapietra

Toshiko Takaezu
Robert Tiemann
Erich and Ingrid Triller
Katherine Trubek
Peter Voulkos
Evelyn Svec Ward
Beatrice Wood
unknown artists (multiple)

Artists Included in the Ray Yoshida Collection

Don Baum
Emile Bergeron
J. P. Bernard
Kathleen Blackshear
Carole R. Brown
Jerry Brown
Roger Brown
Willard Burgess
Larry Byurstrom
Brian Calvin
Sarah Canright
Stephen Carlsen
Patty Carroll
James Castle
D. J. Davidson
Glen Davies
William Dawson
Susanne Doreman
S. Falk
Michele Feder-Nadoff
Howard Finster
Harvey Ford
Brent Gearant
Carolyn Giddings Rogers
Lee Godie

Lorri Gunn
Theodore Halkin
Whitney Halstead
Philip Hanson
Julia Schmitt Healy
Jim Himan
Jesse Howard
Richard Hull
Miyoko Ito
Edmond C. Jimenez
Billy Ray Johnson
Curtis Johnson
S. L. Jones
Richard Joseph
Kenneth Josephson
Joseph Louis Juste
Sarkis Kapkuzian
Stella Kapsalis
Florence Kegley
Richard Klaveren
Sheri Klein
David Kroll
C. Leon
Aatis Lillstrom
Nara Lopez Cordova

Mick Magani
Ronald Markman
David Marshall
Marie Martinez
Joseph McNamee
D. Meredith
R. A. Miller
Arlene Murawski
Ordell Nelson
Gladys Nilsson
Virgil Norberg
Jim Nutt
Roger Alan Oberle
Aldo Piacenza
Sam Prekop
Martín Ramírez
E. Popeye Reed
David Reif
David Richards
Anthony Riggo
Suellen Rocca
Barbara Rossi
Joan Rothenberg
Karen Savage
Arthur J. Scalber

William Schwedler
Joanne Scott
Elizabeth Shreve
Qunicy Smith
Ethel Spears
Donna Tadelman
Melesio Salazar Tepetute
Mose Tolliver
Edgar Tolson
Frank Trankina
Roger Vail
Larry Walls
Ed Walters
Katherine Wayne
Karl Wirsum
Otto Witt
Clarence and Grace Woolsey
David C. “Snap” Wyatt
Joseph Yoakum
Albert Zahn
unknown artists (multiple)

Outside the Art Preserve

Tom Every

Tom Every, Butterfly Jester, c. 1999; metal and mixed media; 92 x 90 x 90 in. John Michael Kohler Arts Center Collection, gift of Kohler Foundation Inc.

Vollis Simpson

Vollis Simpson, untitled (detail), n.d.; metal, paint, and reflectors; 300 x 144 x 144 in. John Michael Kohler Arts Center Collection, gift of Kohler Foundation Inc.

Offsite

James Tellen Woodland Sculpture Garden

James Tellen, St. Peter with St. Peter's Rock, n.d.; concrete and stone. John Michael Kohler Arts Center Collection, gift of Kohler Foundation Inc.

Third Floor

The third floor presents three installations that are fully immersive experiences. The grouping of these large environments, by Emery Blagdon, Nek Chand, and Dr. Charles Smith, also provides the opportunity to examine the diversity of the relationships that the Arts Center holds with the artists in its collection. It explores the various ways the Arts Center acts as a steward, working for and with these environment builders to ensure the protection of their sites.

Second Floor

The layout of the second floor upends some assumptions that people may have about artist-built environments, challenging beliefs and misconceptions. For example, art environments are often thought to be limited to isolated rural settings and created by self-taught artists. However, presented on this floor are sites created by artists who lived in urban areas and circulated in the mainstream art world.

First Floor

The first floor is an exploration of why a place such as the Art Preserve exists in Wisconsin. The origins of the Arts Center’s collection of artist-built environments are examined within the context of the upper Midwest’s cultural landscape. It acknowledges that this phenomenon of making did not happen in isolation but was influenced by the regional customs and the makers’ proximity to and influences on each other.

By People

(Dialogue about the difference between an artist and responder)

 

Artist-Built Environments

Responses Throughout the Art Preserve, visitors will encounter new work commissioned from makers, creatives, scholars, and conservators in response to the art environments in the John Michael Kohler Arts Center’s collection. These works offer

By Works of Art

(Dialogue about the difference between a response and artist built environment)

Artist-Built Environments

Responses Throughout the Art Preserve, visitors will encounter new work commissioned from makers, creatives, scholars, and conservators in response to the art environments in the John Michael Kohler Arts Center’s collection. These works offer

Fragments

The John Michael Kohler Arts Center’s collection of artist-built environments represents extraordinary exceptions to the most common fate of places like these. Many sites are dismantled, usually occasioned by an artist’s death. The disparate elements are then scattered, often among multiple private collections or institutions. The Arts Center collection, with so many complete or nearly complete examples of artists’ lifeworks, is unparalleled.

The objects included in this area of curatorial response have been separated from the majority of the other objects from their site. In some cases, all the work from the original sites is scattered so fully that there isn’t a critical mass of it anywhere. These instances are often attended by a lack of site documentation, and in most instances, important aspects of the environment’s physical site have been demolished or otherwise destroyed.

Through a rotating focus on specific artists, questions of authorship, ethics, conservation, and context can be examined. It is hoped that the cautionary tales represented by these disparate sites will inspire others to uncover spaces such as these to document and advocate for their protection.

The Artist(s)

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