Art of Adolf Wölfli

Elka Spoerri (1924-2002), founding curator of the Adolf Wolfli Foundation at the Museum of Fine Arts, Bern, wrote many publications on Wolfli's art and was the editor of his literary oeuvre. Daniel Baumann, an art historian, has served as curator of the Adolf Wolfli Foundation since 1996. Edward M. Gomez writes about the visual arts for the "New York Times" and numerous other publications, and is also a graphic designer. Gerard C. Wertkin is Director of the American Folk Art Museum and an adjunct associate professor of art and art education at New York University.

"Wolfli was an obsessive artist par excellence. He spent the last 35 years of his life locked up ... and in that time he produced thousands of pages of intricate drawings and novelistic narratives... [He] was recognized as a creative power before his death... After his death in 1930, Wolfli's popularity grew among adherents of Surrealism and those stressing the importance of buried, asocial consciousness."--Carly Berwick, ArtNews "With the stunning retrospective of the work of the artist-composer-poet Adolf Wolfli at the American Folk Art Museum, the distinction between insider and outsider art should finally be declared null and void... [He] created an enormous body of ornate, densely patterned drawings whose incantatory power, formal scope and cultural richness defy category... Wolfli's creations treat the eye to a roller-coaster ride through a terrain bounded by Piranesi, biblical myth, illuminated manuscripts, tantric mandalas and Swiss cuckoo clocks--in other words, a dizzying multi-cultural universe."--Roberta Smith, The New York Times "Wolfli's lyrical, evocative compositions of his well-ordered, elegantly constructed universe explore the relationship between mental illness and art. Mandala-like pieces highlight the artist's high-quality draftsmanship and artistic vision... The introductory essay ... provides an excellent overview of the artist's life within a Swiss mental asylum and the extraordinary drawings and collages of transformation and rebirth that he produced until his death."--Library Journal "Adolf Wolfli ... is among the greatest of outsider artists. Indeed, he could serve as Exhibit A in a study of the outsider phenomenon... [His] large, incredibly dense drawings combine religion, sex, language, music, geography, economics, and other aspects of the artist's fantasy empire... Besides having an immensely complicated and subtle technique, Wolfli is scary... To do Wolfli justice--that is, fully to honor our spontaneous pleasure in his work--requires a bravely open mind."--Peter Schjeldahl, The New Yorker "Freakish, hallucinatory, amusing, ingenious, sensuously soft in touch, and overwhelmingly rich in their detailing, Wolfli's lead and colored-pencil drawings can at first resemble overelaborate, geometric folk-art decorations. Looked at more intently, they can seem like fiendishly complex game boards... Ultimately, these pictures ... all blended into a web of flowing, arching, interconnecting shapes, defy categorization."--Sanford Schwartz, New York Review of Books "A significant and elegant contribution to the history of the Swiss artist most closely associated with the artistic practices labeled variously as art brut, outsider art, or self-taught art."--Choice "An excellent account of [Wolfli's] art and life."--Sue Taylor, Art in America