Loy Bowlin, “The Original Rhinestone Cowboy”

Loy Bowlin was born in 1909 in rural Franklin County, Mississippi, and lived in poverty for much of his life. He married Ina Mae Mitchell in 1933, and the couple farmed and scrapped metal to get by. After their divorce in the 1950s, Bowlin struggled with depression and sought comfort through his Christian faith.

In 1975 Bowlin began to adopt a new persona to lift his spirits, inspired by Glen Campbell’s hit record Rhinestone Cowboy. Dressed head to toe in dazzling outfits he painstakingly embellished with rhinestones and glitter, he performed daily in local shopping plazas, fairs, and flea markets, playing the harmonica, dancing, and telling jokes. Calling himself “The Original Rhinestone Cowboy,” he pursued fame in an adorned 1967 Cadillac.

In the mid-1980s, as he approached his eighties and was no longer able to go out and entertain, he redirected his creative energy to his house in McComb, Mississippi, transforming it into the Beautiful Holy Jewel Home. In a project that took about five years to complete, he covered every inch of the interior, and part of the exterior, with daubs of bright paint and intricate patterns of cutout paper, rhinestones, glitter, tinfoil, tinsel garlands, Christmas ornaments, and collaged photographs and magazine illustrations.

After Bowlin’s death in 1995, Houston artist and collector Katy Emde acquired the house under the stipulation that she remove it from the property. Emde documented and dismantled the home, and Kohler Foundation, Inc., acquired all the components in 1998. The foundation gifted the home along with many of Bowlin’s hats, suits, and furniture pieces to the John Michael Kohler Arts Center.

Visit the Loy Bowlin Collection at the John Michael Kohler Arts Center

Long form articles:

The Art of Whaling, Folk Art

Illustration of the sperm whale while attacking fishing boat from The Natural History of the Sperm Whale (1839) by Thomas Beale (1807-1849). Original from The New York Public Library. Digitally enhanced by rawpixel.
Merry whales in the log of the ship Susan, kept by Reuben Russell. Courtesy, Nantucket Historical Association 
Joseph Mallord William Turner, Whalers, ca. 1845, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1896 Courtesy, The Metropolitan Museum of Art, New York

Turner was seventy years old when Whalers debuted to mixed reviews at the Royal Academy exhibition of 1845. Its subject proved elusive, as the English novelist William Thackeray observed: “That is not a smear of purple you see yonder, but a beautiful whale, whose tail has just slapped a half-dozen whale-boats into perdition; and as for what you fancied to be a few zig-zag lines spattered on the canvas at hap-hazard, look! they turn out to be a ship with all her sails.” Apparently Turner undertook the painting—which was returned to him—for the collector Elhanan Bicknell, who had made his fortune in the whale-oil business.

Visit the Museum

Long Form Articles:

https://publicdomainreview.org/essay/the-art-of-whaling

https://publicdomainreview.org/essay/the-myth-of-blubber-town-an-arctic-metropolis

https://www.antiquesandfineart.com/articles/article.cfm?request=311

https://www.pbs.org/wgbh/americanexperience/features/whaling-history-whaling-america/

https://www.smithsonianmag.com/history/the-true-life-horror-that-inspired-moby-dick-17576/