LaborArts


What he had on his mind he spoke with a self-taught, urban eloquence peppered with profanities that could be hard on the ear, but faultless in its line of reasoning. His paintings are the same. The perspective may be off, the colors unrealistic, the scale surreal, but the concept(s) he is trying to communicate are clear, articulate, startling in their insight, powerful in their presentation. —Son Marc Fasanella, Italian American Art, Summer 2010 More stories »
Ralph Fasanella (1914–1997) was often called an “artist of the people”—he painted elaborately detailed scenes of working-class life (games in the street, riding the subway)—and works about pressing social issues of his own and earlier eras (strikes, McCarthyism). He did more than paint, though—he engaged with the people and places he painted in myriad ways. We‘re collecting stories from some of those people, in collaboration with the American Folk Art Museum, where a small but important exhibit of paintings, drawings and other Fasanella items is on view through November 30, 2014. Resources »
Share your recollections about Ralph Fasanella—if you knew him—OR if you knew his paintings. His art set the tone in many a workplace, classroom and union office—what did it mean to you? We invite you to share a personal story about the artist and/or about the art. Send your submission to info@laborarts.org. Include a photo of yourself if possible. Submissions may be featured in this online exhibition; all will be archived at the American Folk Art Museum.

Ralph Fasanella
Iceman Crucified #1, 1948
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Ralph Fasanella
McCarthy Era Garden Party, 1954
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Ralph Fasanella
Catholic Protectory Line-up, 1961
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Ralph Fasanella
The Rosenberg’s Grey Day, 1963
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Ralph Fasanella
Love Goddess, 1964
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Ralph Fasanella
American Tragedy, 1964
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Ralph Fasanella
Dobbs Ferry Road, 1967
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Ralph Fasanella
Across the River #2, 1969
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Ralph Fasanella
Paper Mill, 1976
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Ralph Fasanella
Meeting at the Commons—Lawrence 1912, 1977
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Ralph Fasanella
Harry’s Luncheonette, 1983
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Ralph Fasanella
Daily News Strike, 1993
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The Andrew Edlin Gallery of New York City has graciously permitted us to use the images in this exhibit;
contact the gallery for all questions regarding reproduction.

We thank Paul D’Ambrosio, whose work on Fasanella informs this exhibit, as it did the first Labor Arts Fasanella exhibit.