The Folk Art of Howard Finster
This website explores the colorful and inspirational evolution of Howard Finster and his folk art. Finster was a renowned preacher and artist whose imagination and determination entwined the realms of art and religion. Through extensive research, this study sheds a light on the universality of self-expression, and attempts to weave together the messages hidden within Finster’s artwork. Lastly, this website strives to examine the communal aspects of the Howard Finster Paradise Garden, which exists as a living canvas of visual storytelling.
Biography
A Southern Baptist Upbringing
Born in 1916 in Valley Head, Alabama, Finster lived mostly in huts or sheds in the appalachian hills. A Baptist preacher for over 40 years, Finster developed a keen ability to gain inisght from God and beyond. The traditional form of preaching was not significant enough to reach the masses, but Finster was determined to spread God's message. Whilst fixing a bicyle, a smear of white paint on his index finger resembled a familiar angel, and his artistic destiny was born. His creations are a form of visual sermonizing that express his beliefs and values regarding God and humanity (Girardot, 1994).
Bibliography
Girardot, Norman, Ricardo Viera, and Howard Finster. 1994.
“Howard Finster.” Art Journal 53 (1): 48. https://doi.org/10.2307/777533.
Kirwin, Liza. 2002. “The Reverend Howard Finster: The Last Red Light before the Apocalypse.” American Art 16 (2): 90–93. https://doi.org/10.1086/444668.
Rajer, Anton. 1996. “Conservation of Howard Finster's eccentric Bible House.” American Institute for Conservation of Historic and Artistic Works. https://resources.culturalheritage.org/wp- content/uploads/sites/8/2015/02/osg004-05.pdf.
Smith, Roberta. 2001. “Howard Finster, Folk Artist and Preacher, Dies at 84.” The New York Times, October 23, 2001, sec. Arts. https://www.nytimes.com/2001/10/23/arts/howard-finster-folk-artist- and-preacher-dies-at-84.html.
Wojcik, Daniel. 2008. “Outsider Art, Vernacular Traditions, Trauma, and Creativity.” Western Folklore 67 (2/3): 179–98. http://www.jstor.org/stable/25474913.
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