Kev Nemelka, Brigham Young University
Art History and Curatorial Studies
Hungarian art has yet to break across the Atlantic with much influence on the art world, but perhaps the oeuvre of Béla Kondor (1931-1972), considered by many Hungarian art historians to be the starting point of Hungarian contemporary art, may have a shot at drawing the nation’s art out of obscurity and into the light of American contemporary “faux-naïve,” an art tradition with a growing momentum that could provide fertile terrain for Kondor’s comparable aesthetic. The faux-naïve tradition springs from “naïve art,” an art tradition whose name itself has been somewhat controversial in the past decade but has nevertheless influenced artists all over the globe. Particularly in Utah Valley, a number of artists and art professors—e.g. Andrew Ballstaedt, Fidalis Buehler, and Brian Krishisnik—are developing their own faux-naïve versions of contemporary folk art similar to that of Kondor with no knowledge of his existence, and although some contend that the sincerity of faux-naïve is factitious and premeditated, the secular and religious works of Kondor and these American artists show the positive side of contrivance, that faux-naïve can provoke feelings of nostalgia and insight into real emotions, focusing our attention on adolescent memories or spiritual innocence alluded to in the works rather than on the lack of complexity, precision, or realism often sought after by aficionados of conventional, believable art. I personally interviewed numerous Kondor experts and curators of Hungarian museums, recovered archived articles on the artist held in Hungarian collections, and conducted comparative analyses of Kondor and the aforementioned Utah artists, whom I also interviewed regarding the subject of faux-naïveté.