Fleisher/Ollman Gallery

ARTISTS

Additional artists

Estate of Philadelphia Wireman


Lived and worked in Philadelphia

The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in the late 1970s. Their discovery in a rapidly-changing neighborhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. The entire collection totals approximately 1200 pieces (and a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry) and appears to be the creation of one male artist, due to the strength involved in manipulating often quite heavy-gauge wire into such tightly-wound nuggets. The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects, including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewelry.

Heavy with associations — anthropomorphic, zoomorphic, and socio-cultural — to wrapped detritus, the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfill the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to Classical antiquity sculptures, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite — or perhaps enhanced by — their anonymity, these enigmatic objects function as urban artifacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever his identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught and vernacular art.

BIBLIOGRAPHY
2011
Greaves, Brendan. Philadelphia Wireman. Fleisher/Ollman Gallery, Philadelphia, PA, Shapco Printing, Minneapolis, MN.
2010
Greaves, Brendan, “Bare Wires: Transmissions for the Philadelphia Wireman,” Philadelphia Wireman, Södertälje Konsthall, Södertälje, Sweden, 2010.
Johnson, Ken, “Inside, Outside, All Around the Aesthetics,” New York Times, January 5, 2010.
2006
Borum, Jenifer P., “Philadelphia Wireman: Matthew Marks Gallery,” Art Forum Summer 2006.
1997
Polsky, Richard, “Five Artists Under $5000”, Smoke, Spring 1997
1995
DuPlessis, Rachel Blau, “Draft 22: Philadelphia Wireman,” Hambone (Spring)
1991
McGonigal, Mike, “Psychic Magnets,” Raw Vision, October, pg.48-52
1990
Grey Gundaker, Even the Deep Things of God: A Quality of Mind in Afro-Atlantic Traditional Art (exhibition catalogue), Pittsburgh Center for the Arts.
Chadwick, Susan, “Davis McClain puts Outsiders Front and Center,” The Houston Post, December 9, pg. G13
Johnson, Patricia, “Art Created in Isolation,” Houston Chronicle, December 15, pg. G13
1988
Ricco, Roger and Frank Maresca, with Julia Weissman, American Primitive: Discoveries in Folk Sculpture, New York: Alfred A. Knopf.
“Sketchbook,” Art and Antiques Magazine, November
1987
Berjonneau, Gerald and Jean Louis Sonnery (eds.), Rediscovered Masterpieces of African Art, Boulogne: Foundation Dapper, (forward by Robert Farris Thompson).
The Naive Figure: Eccentric Visions (exhibition catalogue), Rutgers University, New Brunswick.
Jarmusch, Ann, International Journal of Contemporary Writing and Art, Winter/Spring
1986
Metcalf, Eugene. The Ties that Bind: Folk Art in Contemporary American Culture (exhibition catalogue), The Contemporary Arts Center, Cincinnati, OH
Jarmusch, Ann, “Wired for Art,” Philadelphia Inquirer, July
Jarmusch, Ann, “Mysterious Stranger,” Artnews September

Solo Shows

2010
  • Philadelphia WiremanSödertälje Konsthallen, Södertälje, Sweden 
  • Philadelphia WiremanWilliam Shearburn Gallery, St. Louis, MO 
2006
  • Philadelphia WiremanMatthew Marks Gallery, New York, NY 

Group Shows

2012
  • Everyday Abstract - Abstract EverydayJames Cohan, New York
  • B. Wurtz and Co: Curated by Matthew HiggsRichard Telles Fine Art, Los Angeles, CA 
2011
  • The Medicine BagMaccarone Gallery, New York, NY 
2010
  • Approaching AbstractionAmerican Folk Art Museum, New York, NY 
  • Four DecadesFleisher/Ollman Gallery, Philadelphia, PA 
2008
  • 2000 Years of SculptureFleisher/Ollman Gallery, Philadelphia, PA 
2006
  • Rock Paper Scissors: American Collage NowFleisher/Ollman Gallery, Philadelphia, PA 
2003
  • 50th AnniversaryFleisher/Ollman Gallery, Philadelphia, PA 
2002
  • The Miniature ShowGraystone, San Francisco, CA 
2001
  • 10th Anniversary ExhibitionMatthew Marks Gallery, New York, NY 
  • Sight/Site: Objects Subject to ChangeInstitute of Contemporary Art, Philadelphia, PA 
2000
  • Without Ego: Anonymous WorksIntuit Center, Chicago, IL 
1995
  • Lives of Invention and Imagery: Self-Taught ArtistsThe Society for Contemporary Crafts, Pittsburgh, PA 
  • SpecimensArt in City Hall, Philadelphia, PA 
1994
  • Assemblage: Reordering Chaos—Sculpture by Self-Taught ArtistsAmerican Primitive Gallery, New York, NY 
  • Dream Singers, Story Tellers: An African-American PresenceFukui Fine Arts Museum, Japan. Traveled to: Tokushima Modern Art Museum; Kamakura Otani Memorial Art Museum; New Jersey State Museum, Trenton, NJ. 
1993
  • Face of the Gods: Art and Altars of Africa and the African AmericasThe Museum for African Art, New York, NY 
1992
  • Revolving TechniquesJames A. Michener Art Museum, Doylestown, PA 
  • Messaging the Spirit WorldDean Jensen Gallery, Milwaukee, WI 
  • Henry Ray Clark, Philadelphia Wireman, Purvis YoungJanet Fleisher Gallery, Philadelphia, PA 
  • Philadelphia Wireman and Hawkins BoldenDean Jensen Gallery, Milwaukee, WI 
1991
  • OutsidersEugene Binder Gallery, Cologne, Germany 
  • American Outsiders: VisionariesDavis McClain Gallery, Houston, TX 
1990
  • Art of Healing; Objects of MagicJanet Fleisher Gallery, Philadelphia, PA 
  • Even the Deep Things of GodPittsburgh Center for the Arts, Pittsburgh, PA 
1989
  • Two Person ExhibitionGallery 1709, St. Louis, MO 
1988
  • Material Obsessions: Eugene von Bruenchenhein, Philadelphia Wireman & Anonymous ArtistsCarl Hammer Gallery, Chicago, IL 
1987
  • Narrative ImagesThe Crescent Gallery, Dallas, TX. Traveled to: Art Museum of South Texas, Corpus Christi, TX; Tyler Museum of Art, Tyler, TX; San Angelo Museum of Fine Art, San Angelo, TX 
  • The Naive Figure: Eccentric VisionsRobeson Center Gallery, Rutgers University, New Brunswick, NJ 
  • American OutsidersGalleri Wallner, Malmo, Sweden 
  • American Mysteries: The Rediscovery of Outside ArtArt Commission Gallery, San Francisco, CA 
  • Materializers: Outsider & Visionary SculptorsJanet Fleisher Gallery, Philadelphia, PA 
  • The Ties that Bind: Folk Art in Contemporary American CultureThe Contemporary Arts Center, Cincinatti, OH. Traveled to: Cranbrook Academy of Art, Bloomfield Hills, MI; North Dakota Museum of Art, Grand Forks, ND; San Jose Museum of Art, San Jose, CA 
  • Three Person ExhibitionOscarsson Siegeltuch Gallery, New York, NY 
1986
  • Small SculptureAcme Art, San Francisco, CA 
  • Outside SculptureJanet Fleisher Gallery, Philadelphia, PA 
  • Extraordinary VisionsLawrence Hail Gallery, Rosemont College, Rosemont, PA 
1985
  • Inaugural ExhibitionCavin Morris, Inc., New York, NY 
  • Masterpieces of Folk ArtJanet Fleisher Gallery, Philadelphia, PA