> Great write-up on Pasaquan? in The New York Times...
>
> http://www.nytimes.com/1987/12/13/books/philosopher-of-the-far-out.html?src=pm
>
> SAINT EOM wrote:
> Eddie Owens Martin
>
> Maybe some good can come out of this pain ridden life, Eddie would've
> wanted it that way.
> Indeed... and here's what the New York Times write-up had to say about Eddie
> Owens Martin's works that hang in the Library of Congress, the Museum of
> Modern Art, and in the Smithsonian Museum of American Art...
>
> ----------
>
> "...MOST of the life of Eddie Owens Martin, a k a St. EOM, affirms the
> resilience of the human spirit without necessarily paying it any
> compliments... In 1957, Martin inherited part of the family farm in Marion
> County, Georgia... far-out philosopher and visionary artist and architect.
> In all three pursuits, he displayed a creativity, pertinacity and human
> decency one would not have predicted, as if some kernel of spiritual grace
> long carried by his reprobate self had burst and flowered. Such things are
> not unknown. Other so-called outsider artists, like St. EOM's fellow
> Georgian the Rev. Howard Finster and (greatest of them all) Sam Rodia of
> Watts Towers fame, have been lumpen types who unclenched mysterious powers
> late in life. But St. EOM's case has an extra measure of the uncanny..."
>
> [...]
>
> "...The alternately seductive and challenging, eloquent and profane, oddly
> black-inflected voice that speaks from the pages of ''St. EOM in the Land of
> Pasaquan.'' It was a voice that got its owner out of tremendous amounts of
> trouble, and it became a hypnotic instrument. St. EOM's fragrant and
> harrowing account of his cracker childhood is a small Southern classic. In
> more discursive passages, the voice lends almost equal persuasiveness to
> words of hard-earned wisdom and theories for which ''crackpot'' seems an
> epithet too mild."
>
> [...]
>
> "St. EOM's phantasmagorically designed and decorated little estate is a
> knockout. Its chockablock proliferation of exotic forms and motifs - Indian,
> American Indian, Easter Island, Islamic, mandala and arabesque and totem and
> pagoda - ought to be just a colorful mess, but somehow it appears to possess
> a lovely, rhythmical order. St. EOM was a deliberate man and a
> perfectionist, capable of tearing down to start again. His work displays a
> tension between molten fantasy and cool discipline. The visual splendor of
> the place he called Pasaquan, though plenty eccentric, is no more to be
> patronized than the Pasaquoyan ever permitted himself to be..."
>
> "...But what an American life!" It's true. There is no cog on the ratchet of
> American rugged individualism beyond that of St. EOM, and his disaffected
> creative drive is archetypal for much that is strong in American art.'"I
> built this place to have somethin' to identify with," he said, in a sort of
> pledge of unallegiance befitting an Abstract Expressionist, "Because there's
> nothin' I see in this society that I identify with or desire to emulate."
> Inevitably, such extreme alienation is paired with an opposing hunger for
> recognition, spelled out by St. EOM with his usual directness:''I wanna
> prove to society that even though I've been ostracized all my life, I have
> good qualities and good potential.'' He played life's game with some strange
> cards, but proved in the end to hold a full deck..."
>
> -Peter Schjeldahl in The New York Times
>
> ----------

Definitely not a "junkyard", as Nancy Gene incorrectly called it.

And so it goes.

On Thursday, July 28, 2022 at 3:11:57 PM UTC-4, Will Dockery wrote:
> > Great write-up on Pasaquan? in The New York Times...
> >
> > http://www.nytimes.com/1987/12/13/books/philosopher-of-the-far-out.html?src=pm
> >
> > SAINT EOM wrote:
> > Eddie Owens Martin
> >
> > Maybe some good can come out of this pain ridden life, Eddie would've
> > wanted it that way.
> > Indeed... and here's what the New York Times write-up had to say about Eddie
> > Owens Martin's works that hang in the Library of Congress, the Museum of
> > Modern Art, and in the Smithsonian Museum of American Art...
> >
> > ----------
> >
> > "...MOST of the life of Eddie Owens Martin, a k a St. EOM, affirms the
> > resilience of the human spirit without necessarily paying it any
> > compliments... In 1957, Martin inherited part of the family farm in Marion
> > County, Georgia... far-out philosopher and visionary artist and architect.
> > In all three pursuits, he displayed a creativity, pertinacity and human
> > decency one would not have predicted, as if some kernel of spiritual grace
> > long carried by his reprobate self had burst and flowered. Such things are
> > not unknown. Other so-called outsider artists, like St. EOM's fellow
> > Georgian the Rev. Howard Finster and (greatest of them all) Sam Rodia of
> > Watts Towers fame, have been lumpen types who unclenched mysterious powers
> > late in life. But St. EOM's case has an extra measure of the uncanny..."
> >
> > [...]
> >
> > "...The alternately seductive and challenging, eloquent and profane, oddly
> > black-inflected voice that speaks from the pages of ''St. EOM in the Land of
> > Pasaquan.'' It was a voice that got its owner out of tremendous amounts of
> > trouble, and it became a hypnotic instrument. St. EOM's fragrant and
> > harrowing account of his cracker childhood is a small Southern classic. In
> > more discursive passages, the voice lends almost equal persuasiveness to
> > words of hard-earned wisdom and theories for which ''crackpot'' seems an
> > epithet too mild."
> >
> > [...]
> >
> > "St. EOM's phantasmagorically designed and decorated little estate is a
> > knockout. Its chockablock proliferation of exotic forms and motifs - Indian,
> > American Indian, Easter Island, Islamic, mandala and arabesque and totem and
> > pagoda - ought to be just a colorful mess, but somehow it appears to possess
> > a lovely, rhythmical order. St. EOM was a deliberate man and a
> > perfectionist, capable of tearing down to start again. His work displays a
> > tension between molten fantasy and cool discipline. The visual splendor of
> > the place he called Pasaquan, though plenty eccentric, is no more to be
> > patronized than the Pasaquoyan ever permitted himself to be..."
> >
> > "...But what an American life!" It's true. There is no cog on the ratchet of
> > American rugged individualism beyond that of St. EOM, and his disaffected
> > creative drive is archetypal for much that is strong in American art.'"I
> > built this place to have somethin' to identify with," he said, in a sort of
> > pledge of unallegiance befitting an Abstract Expressionist, "Because there's
> > nothin' I see in this society that I identify with or desire to emulate."
> > Inevitably, such extreme alienation is paired with an opposing hunger for
> > recognition, spelled out by St. EOM with his usual directness:''I wanna
> > prove to society that even though I've been ostracized all my life, I have
> > good qualities and good potential.'' He played life's game with some strange
> > cards, but proved in the end to hold a full deck..."
> >
> > -Peter Schjeldahl in The New York Times
> >
> > ----------
> Definitely not a "junkyard", as Nancy Gene incorrectly called it.
>
> And so it goes.

Necroposting reported.

On Thursday, July 28, 2022 at 7:16:30 PM UTC, HC wrote:
> On Thursday, July 28, 2022 at 3:11:57 PM UTC-4, Will Dockery wrote:

> > Definitely not a "junkyard", as Nancy Gene incorrectly called it.
It's a junkyard.
> >
> Necroposting reported.

Ha, ha:
"pasaquan.com
This domain is for sale: $11,195"

NancyGene wrote:

> On Thursday, July 28, 2022 at 7:16:30 PM UTC, HC wrote:
>> On Thursday, July 28, 2022 at 3:11:57 PM UTC-4, Will Dockery wrote:
>
>> > Definitely not a "junkyard", as Nancy Gene incorrectly called it.
>
> It's a junkyard.

No it isn't:

https://en.wikipedia.org/wiki/Pasaquan

"Pasaquan is a 7-acre (28,000 m2) compound near Buena Vista, Georgia. It was created by an eccentric folk artist named Eddie Owens Martin (1908–1986), who called himself St. EOM. An internationally renowned art site, it consists of six major structures including a redesigned 1885 farmhouse, painted concrete sculptures, and 4 acres (16,000 m2) of painted masonry concrete walls. In September 2008, Pasaquan was accepted for listing on the National Register of Historic Places. Pasaquan was restored by the Kohler Foundation and Columbus State University between 2014 and 2016..."

"President Jimmy Carter visited the site in the early 1980s. In 2015, the Pasaquan Preservation Society won the Governor's Award for the Arts and Humanities for its work on Pasaquan. In 2016, CNN recommended Pasaquan as a tourist destination. In 2019, Atlanta recommended Pasaquan as a folk art destination..."

"In 2004, the Pasaquan Preservation Society solicited the Kohler Foundation for help in maintaining Pasaquan. The project was accepted in 2014. The Kohler Foundation collaborated with Columbus State University to restore Pasaquan's art. After two years of work, the site was re-opened to the public on October 22, 2016..."

HTH and HAND, again.

;)

On Thursday, July 28, 2022 at 3:32:59 PM UTC-4, NancyGene wrote:
> On Thursday, July 28, 2022 at 7:16:30 PM UTC, HC wrote:
> > On Thursday, July 28, 2022 at 3:11:57 PM UTC-4, Will Dockery wrote:
>
> > > Definitely not a "junkyard", as Nancy Gene incorrectly called it.
> It's a junkyard.

Your cluelessness is noted

>
> Ha, ha:
> "pasaquan.com
> This domain is for sale: $11,195"

The site was from 2003, obviously things have changed in nearly twenty years.

HTH and HAND.

On Thursday, July 28, 2022 at 3:16:30 PM UTC-4, HC wrote:
> On Thursday, July 28, 2022 at 3:11:57 PM UTC-4, Will Dockery wrote:
> > > Great write-up on Pasaquan? in The New York Times...
> > >
> > > http://www.nytimes.com/1987/12/13/books/philosopher-of-the-far-out.html?src=pm
> > >
> > > SAINT EOM wrote:
> > > Eddie Owens Martin
> > >
> > > Maybe some good can come out of this pain ridden life, Eddie would've
> > > wanted it that way.
> > > Indeed... and here's what the New York Times write-up had to say about Eddie
> > > Owens Martin's works that hang in the Library of Congress, the Museum of
> > > Modern Art, and in the Smithsonian Museum of American Art...
> > >
> > > ----------
> > >
> > > "...MOST of the life of Eddie Owens Martin, a k a St. EOM, affirms the
> > > resilience of the human spirit without necessarily paying it any
> > > compliments... In 1957, Martin inherited part of the family farm in Marion
> > > County, Georgia... far-out philosopher and visionary artist and architect.
> > > In all three pursuits, he displayed a creativity, pertinacity and human
> > > decency one would not have predicted, as if some kernel of spiritual grace
> > > long carried by his reprobate self had burst and flowered. Such things are
> > > not unknown. Other so-called outsider artists, like St. EOM's fellow
> > > Georgian the Rev. Howard Finster and (greatest of them all) Sam Rodia of
> > > Watts Towers fame, have been lumpen types who unclenched mysterious powers
> > > late in life. But St. EOM's case has an extra measure of the uncanny..."
> > >
> > > [...]
> > >
> > > "...The alternately seductive and challenging, eloquent and profane, oddly
> > > black-inflected voice that speaks from the pages of ''St. EOM in the Land of
> > > Pasaquan.'' It was a voice that got its owner out of tremendous amounts of
> > > trouble, and it became a hypnotic instrument. St. EOM's fragrant and
> > > harrowing account of his cracker childhood is a small Southern classic. In
> > > more discursive passages, the voice lends almost equal persuasiveness to
> > > words of hard-earned wisdom and theories for which ''crackpot'' seems an
> > > epithet too mild."
> > >
> > > [...]
> > >
> > > "St. EOM's phantasmagorically designed and decorated little estate is a
> > > knockout. Its chockablock proliferation of exotic forms and motifs - Indian,
> > > American Indian, Easter Island, Islamic, mandala and arabesque and totem and
> > > pagoda - ought to be just a colorful mess, but somehow it appears to possess
> > > a lovely, rhythmical order. St. EOM was a deliberate man and a
> > > perfectionist, capable of tearing down to start again. His work displays a
> > > tension between molten fantasy and cool discipline. The visual splendor of
> > > the place he called Pasaquan, though plenty eccentric, is no more to be
> > > patronized than the Pasaquoyan ever permitted himself to be..."
> > >
> > > "...But what an American life!" It's true. There is no cog on the ratchet of
> > > American rugged individualism beyond that of St. EOM, and his disaffected
> > > creative drive is archetypal for much that is strong in American art.'"I
> > > built this place to have somethin' to identify with," he said, in a sort of
> > > pledge of unallegiance befitting an Abstract Expressionist, "Because there's
> > > nothin' I see in this society that I identify with or desire to emulate."
> > > Inevitably, such extreme alienation is paired with an opposing hunger for
> > > recognition, spelled out by St. EOM with his usual directness:''I wanna
> > > prove to society that even though I've been ostracized all my life, I have
> > > good qualities and good potential.'' He played life's game with some strange
> > > cards, but proved in the end to hold a full deck..."
> > >
> > > -Peter Schjeldahl in The New York Times
> > >
> > > ----------
> > Definitely not a "junkyard", as Nancy Gene incorrectly called it.
> >
> > And so it goes.
> Necroposting reported.

Not really, with the current group observation with Pasaquan and Eddie Martin, this thread is right on topic.

HTH and HAND.

Will Dockery wrote:

>> Great write-up on Pasaquan? in The New York Times...
>>
>> http://www.nytimes.com/1987/12/13/books/philosopher-of-the-far-out.html?src=pm
>>
>> SAINT EOM wrote:
>> Eddie Owens Martin
>>
>> Maybe some good can come out of this pain ridden life, Eddie would've
>> wanted it that way.
>> Indeed... and here's what the New York Times write-up had to say about Eddie
>> Owens Martin's works that hang in the Library of Congress, the Museum of
>> Modern Art, and in the Smithsonian Museum of American Art...
>>
>> ----------
>>
>> "...MOST of the life of Eddie Owens Martin, a k a St. EOM, affirms the
>> resilience of the human spirit without necessarily paying it any
>> compliments... In 1957, Martin inherited part of the family farm in Marion
>> County, Georgia... far-out philosopher and visionary artist and architect.
>> In all three pursuits, he displayed a creativity, pertinacity and human
>> decency one would not have predicted, as if some kernel of spiritual grace
>> long carried by his reprobate self had burst and flowered. Such things are
>> not unknown. Other so-called outsider artists, like St. EOM's fellow
>> Georgian the Rev. Howard Finster and (greatest of them all) Sam Rodia of
>> Watts Towers fame, have been lumpen types who unclenched mysterious powers
>> late in life. But St. EOM's case has an extra measure of the uncanny..."
>>
>> [...]
>>
>> "...The alternately seductive and challenging, eloquent and profane, oddly
>> black-inflected voice that speaks from the pages of ''St. EOM in the Land of
>> Pasaquan.'' It was a voice that got its owner out of tremendous amounts of
>> trouble, and it became a hypnotic instrument. St. EOM's fragrant and
>> harrowing account of his cracker childhood is a small Southern classic. In
>> more discursive passages, the voice lends almost equal persuasiveness to
>> words of hard-earned wisdom and theories for which ''crackpot'' seems an
>> epithet too mild."
>>
>> [...]
>>
>> "St. EOM's phantasmagorically designed and decorated little estate is a
>> knockout. Its chockablock proliferation of exotic forms and motifs - Indian,
>> American Indian, Easter Island, Islamic, mandala and arabesque and totem and
>> pagoda - ought to be just a colorful mess, but somehow it appears to possess
>> a lovely, rhythmical order. St. EOM was a deliberate man and a
>> perfectionist, capable of tearing down to start again. His work displays a
>> tension between molten fantasy and cool discipline. The visual splendor of
>> the place he called Pasaquan, though plenty eccentric, is no more to be
>> patronized than the Pasaquoyan ever permitted himself to be..."
>>
>> "...But what an American life!" It's true. There is no cog on the ratchet of
>> American rugged individualism beyond that of St. EOM, and his disaffected
>> creative drive is archetypal for much that is strong in American art.'"I
>> built this place to have somethin' to identify with," he said, in a sort of
>> pledge of unallegiance befitting an Abstract Expressionist, "Because there's
>> nothin' I see in this society that I identify with or desire to emulate."
>> Inevitably, such extreme alienation is paired with an opposing hunger for
>> recognition, spelled out by St. EOM with his usual directness:''I wanna
>> prove to society that even though I've been ostracized all my life, I have
>> good qualities and good potential.'' He played life's game with some strange
>> cards, but proved in the end to hold a full deck..."
>>
>> -Peter Schjeldahl in The New York Times
>>
>> ----------

> Definitely not a "junkyard", as Nancy Gene incorrectly called it.

> And so it goes.

To set the record straight.,............

Zod wrote:

> Will Dockery wrote:

>>> Great write-up on Pasaquan? in The New York Times...
>>>
>>> http://www.nytimes.com/1987/12/13/books/philosopher-of-the-far-out.html?src=pm
>>>
>>> SAINT EOM wrote:
>>> Eddie Owens Martin
>>>
>>> Maybe some good can come out of this pain ridden life, Eddie would've
>>> wanted it that way.
>>> Indeed... and here's what the New York Times write-up had to say about Eddie
>>> Owens Martin's works that hang in the Library of Congress, the Museum of
>>> Modern Art, and in the Smithsonian Museum of American Art...
>>>
>>> ----------
>>>
>>> "...MOST of the life of Eddie Owens Martin, a k a St. EOM, affirms the
>>> resilience of the human spirit without necessarily paying it any
>>> compliments... In 1957, Martin inherited part of the family farm in Marion
>>> County, Georgia... far-out philosopher and visionary artist and architect.
>>> In all three pursuits, he displayed a creativity, pertinacity and human
>>> decency one would not have predicted, as if some kernel of spiritual grace
>>> long carried by his reprobate self had burst and flowered. Such things are
>>> not unknown. Other so-called outsider artists, like St. EOM's fellow
>>> Georgian the Rev. Howard Finster and (greatest of them all) Sam Rodia of
>>> Watts Towers fame, have been lumpen types who unclenched mysterious powers
>>> late in life. But St. EOM's case has an extra measure of the uncanny..."
>>>
>>> [...]
>>>
>>> "...The alternately seductive and challenging, eloquent and profane, oddly
>>> black-inflected voice that speaks from the pages of ''St. EOM in the Land of
>>> Pasaquan.'' It was a voice that got its owner out of tremendous amounts of
>>> trouble, and it became a hypnotic instrument. St. EOM's fragrant and
>>> harrowing account of his cracker childhood is a small Southern classic. In
>>> more discursive passages, the voice lends almost equal persuasiveness to
>>> words of hard-earned wisdom and theories for which ''crackpot'' seems an
>>> epithet too mild."
>>>
>>> [...]
>>>
>>> "St. EOM's phantasmagorically designed and decorated little estate is a
>>> knockout. Its chockablock proliferation of exotic forms and motifs - Indian,
>>> American Indian, Easter Island, Islamic, mandala and arabesque and totem and
>>> pagoda - ought to be just a colorful mess, but somehow it appears to possess
>>> a lovely, rhythmical order. St. EOM was a deliberate man and a
>>> perfectionist, capable of tearing down to start again. His work displays a
>>> tension between molten fantasy and cool discipline. The visual splendor of
>>> the place he called Pasaquan, though plenty eccentric, is no more to be
>>> patronized than the Pasaquoyan ever permitted himself to be..."
>>>
>>> "...But what an American life!" It's true. There is no cog on the ratchet of
>>> American rugged individualism beyond that of St. EOM, and his disaffected
>>> creative drive is archetypal for much that is strong in American art.'"I
>>> built this place to have somethin' to identify with," he said, in a sort of
>>> pledge of unallegiance befitting an Abstract Expressionist, "Because there's
>>> nothin' I see in this society that I identify with or desire to emulate."
>>> Inevitably, such extreme alienation is paired with an opposing hunger for
>>> recognition, spelled out by St. EOM with his usual directness:''I wanna
>>> prove to society that even though I've been ostracized all my life, I have
>>> good qualities and good potential.'' He played life's game with some strange
>>> cards, but proved in the end to hold a full deck..."
>>>
>>> -Peter Schjeldahl in The New York Times
>>>
>>> ----------

>> Definitely not a "junkyard", as Nancy Gene incorrectly called it.

>> And so it goes.

> To set the record straight.,............

Exactly.