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قديم 08-04-2013, 01:47 PM
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Posthumous fame and influence</SPAN>

Darger's landlords, Nathan and Kiyoko Lerner, came across his work shortly before his death, a day after his birthday, on April 13, 1973. Nathan Lerner, an accomplished photographer whose long career the New York Times wrote "was inextricably bound up in the history of visual culture in Chicago",[22] recognized immediately the artistic merit of Darger's work. By this time Darger was in the Catholic mission St. Augustine's, operated by the Little Sisters of the Poor, where his father had died.
The Lerners took charge of the Darger estate, publicizing his work and contributing to projects such as the 2004 documentary In the Realms of the Unreal. In cooperation with Kiyoko Lerner, Intuit: The Center for Intuitive and Outsider Art[23] dedicated the Henry Darger Room Collection[24] in 2008 as part of its permanent collection. Darger has become internationally recognized thanks to the efforts of people who knew to save his works. After Nathan Lerner's death in 1997, Kiyoko Lerner became the sole figure in charge of both her husband's and Darger's estates. The U.S. copyright representative for the Estate of Henry Darger and the Estate of Nathan Lerner is the Artists Rights Society.[25]
Darger is today one of the most famous figures in the history of outsider art. At the Outsider Art Fair, held every January in New York City, and at auction, his work is among the highest-priced of any self-taught artist. The American Folk Art Museum, New York City, opened a Henry Darger Study Center in 2001.[26] His work now commands upwards of $80,000.[27][28]
In popular culture

The cover art of the 2005 Animal Collective album Feels is a homage to Darger's visual style.
Since his death in 1973 and the discovery of his massive opus, and especially since the 1990s, there have been many references in popular culture to Darger's work by other visual artists including, but not limited to, artists of comics and graphic novels; numerous popular songs; a 1999 book-length poem, Girls on the Run, by John Ashbery; a multi-player online game, SiSSYFiGHT 2000, and a 2004 multimedia piece by choreographer Pat Graney incorporating Darger images. Jesse Kellerman's 2008 novel The Genius took part of its inspiration from Darger's story.[29] These artists have variously drawn from and responded to Darger's artistic style, his themes (especially the Vivian Girls, the young heroines of Darger's massive illustrated novel), and the events in his life.
Jessica Yu's 2004 documentary In the Realms of the Unreal details Darger's life and artworks.
Comic book artist Scott McCloud refers to Darger's work in his book Making Comics, while describing the danger artists encounter in the creation of a character's back-story. McCloud says that complicated narratives can easily spin out of control when too much unseen information is built up around the characters.[30]
Darger and his work have been an inspiration for several music artists. The Vivian Girls are an all-girl indie/punk trio from Brooklyn;[31] "Henry Darger" is a song by Natalie Merchant on her album Motherland, "Vivian Girls" is song by the band Wussy on their album Left for Dead, "The Vivian Girls Are Visited in the Night by Saint Dargarius and His Squadron of Benevolent Butterflies" is a song by Sufjan Stevens on his album The Avalanche: Outtakes and Extras from the Illinois Album, "Segue: In the Realms of the Unreal" is song by the band ...And You Will Know Us by the Trail of Dead on their album So Divided, "The Vivian Girls" is a 1979 song by Snakefinger (Philip Lithman Roth) also recorded by the Monks of Doom on their album The Cosmodemonic Telegraph Company, "Vivian girls" is a song by the band Fucked Up on their album Hidden World, and "Lost girls" (about Darger's work) is a song by Tilly and the Wall on their album Bottoms of Barrels.
Darger is the subject of a radio play, Darger and the Detective, by Mike Walker performed by members of the Chicago-based Steppenwolf Theatre Company for BBC Radio 3.]
Collections and exhibits

Darger’s works are included in the permanent collections of the Museum of Modern Art and the American Folk Art Museum in New York, Intuit: The Center for Intuitive and Outsider Art, the Art Institute of Chicago, the Chicago Museum of Contemporary Art, the New Orleans Museum of Art, the Milwaukee Art Museum, the Collection de l'art brut, the Walker Art Center, the Irish Museum of Modern Art, the National Museum of American Art, High Museum of Art, and the Lille Métropole Museum of Modern, Contemporary and Outsider Art in Villeneuve d'Ascq.
Darger’s art also has been featured in many notable museum exhibitions, including “The Unreality of Being” exhibit curated by Stephen Prokopoff. It was also seen in “Disasters of War” (P.S. 1, New York, 2000), where it was presented alongside prints from the famous Francisco de Goya series The Disasters of War and works derived from these by the British contemporary-art duo Jake and Dinos Chapman. Darger’s work has also been shown at the Los Angeles County Museum of Art, the Philadelphia Museum of Art, the Setagaya Art Museum, and the Collection de l'art brut, La Maison Rouge, Museum Kunst Palast, Musée d’Art Moderne de Lille-Métropole, and the Yerba Buena Center for the Arts.
In 2008, the exhibition at the American Folk Art Museum, titled "Dargerism: Contemporary Artists and Henry Darger", examined the influence of Darger's oeuvre on 11 artists, including Trenton Doyle Hancock, Robyn O'Neil, and Amy Cutler, who were responding not only to the aesthetic nature of Darger's mythic work — with its tales of good versus evil, its epic scope and complexity, and its transgressive undertone — but also to his driven work ethic and all-consuming devotion to artmaking.[26]
Also in 2008, Intuit: The Center for Intuitive and Outsider Art in Chicago opened its permanent exhibit of the Henry Darger Room Collection,[33] an installation that meticulously recreates the small northside Chicago apartment where Darger lived and made his art.