Dr. Kym Pinder, Art Hisortrian and Professor, is editing a book that will feature charts by Rev. Phillips along with other reachers or pastors who created visual art as a part of their worship practices. The book will be out in 2014.  Its title and other details are still  in development.

From the New York Times:

"At Lindsay Gallery, charts drawn on rolls of oilcloth by a Pentecostal minister, the Rev. Samuel David Phillips (1890-1973), illustrate sermons in a naïve hand but with plenty of preacherly imperative. You imagine the members of his flock sitting bolt upright in their pews after gazing at “Rome,” which depicts a bloody crucifixion, the flaying of St. Bartholomew and a pack of lions feasting on martyrs in the Colosseum."

This chart is show in older posts on this blog. Click this link for the full article. Outsider Art

These four charts handled at some point by the Lindsay Gallery.

All photographs & illustrated charts are copyright 2011 Turtel Onli and are presented in this blog for educational purposes. Professional or collector concerns should be directed to the Lindsay Gallery or to Turtel Onli. Contact info for both are listed in other posts on this blog.

This is a detail from "Rome". This chart shows the suffering experienced

by early Christians under the oppression of the Roman Empire.

REV. SAMUEL DAVID PHILLIPS

"One of the most important things to know about the teaching charts of Rev. Samuel David Phillips is that they were not created to be viewed as art. Rev. Phillips was operating in a long Evangelical tradition of chart making that dates back into the mid 1800s. Evangelical Christian groups such as the Adventists and Millerites originally created charts to predict what they believed to be the imminent return of Christ to the earth.

For Rev. Phillips the charts had a more earthly function, to illustrate his sermons to his flock at the Progressive Pentecostal Mission of Chicago. His intent was to help his congregation better understand the bible and how it impacted many things that were happening in the world. But it’s how he depicted those messages that make the charts rise to the level of great folk art, rather than simple biblical illustration.

These charts crackle with an over-the-top energy fueled by aggressive pattering and bursts of motion. Angels share the sky with bombs, Jonah’s whale swims next to modern ships, demons share the roadway with automobiles … creating a visionary explosion meant to inspire parishioners.

That inspiration still works today, no matter the viewers beliefs. This is pure folk art, the “real thing”, made from the materials at hand and meant to be used. While pictorially simple, these charts have an impact that is much greater than the sum of their parts… foreshadowing the work of religious visionaries such as Sister Gertrude Morgan and Rev. Howard Finster. "

By Duff Lindsay

The Lindsay Gallery will be showcasing a selection of important

charts by the late Rev. Samuel David Phillips at the Outsider Art Fair 2012 in NY.

It is of special note to know that the LUMA: Loyola University Museum of Art in Chicago will be showing a framed chart by Rev. Phillips in an exhibition featuring images dealing with the path to Heaven.

Through special and highly appreciated arrangement by the Lindsay Gallery.

Loyola University Museum of Art · 820 North Michigan Avenue, Chicago, IL 60611

312.915.7600 · luma@luc.edu

"Heaven+ Hell" exhibition February 10 – June 30, 2012

The themes of heaven, hell, and purgatory are frequently addressed in folk, outsider, and self-taught art in all media. The perspectives that these artists have taken range from illustrative, word-laden drawings to stylized, sculptural versions of figurative images that populate their conceptions of heaven and hell. Unlike academically trained artists, self-taught artists use the themes of heaven and hell not as concepts, but as visualizations that may be invented, drawn from popular media, or influenced by religious upbringing. The content may be benign or horrific, delusional or commentative on contemporary life, obsessive or minimal in design, but usually, on the face of the work, highly interpretative. The exhibition is co-organized with Intuit: The Center for Intuitive and Outsider Art.

This chart is now in the permanent collection of the Intuit Center for Intuitive Art in Chicago thanks to it being donated by a concerned collector who recently bought it.