From Library Journal
Though "Outsider Art" has its roots in the Romantic Movement in 19th-century Europe, the term itself was coined 20 years ago to refer to works created by the insane; it has since been broadened to include the unlikely bedfellows of folk, avant-garde, primitive, and modern art. Although ostensibly covering the same topic, these two offerings have little in common. American Self-Taught , by the authors of American Primitive ( LJ 12/88), is a glossy art book presented in a popular style. Each artist--chosen, the authors unabashedly admit, because he or she has an approach that appeals to them personally--is represented by a one-page biography and several works reproduced in lavish color plates. A short introductory essay defines outsider art as "the recovery of a lost world" or, in other words, the harnessing of a primal, often visionary, creative impulse. The contributors to The Artist Outsider , by contrast, spend nearly 300 pages supporting, redefining, and debunking the concept. The book's 19 scholarly essays represent various academic disciplines and are grouped by aesthetic or social approach. They offer an international perspective and critically explore such diverse topics as the role of "insiders" (critics, curators, and dealers), the nature of folk art, the appreciation of difficult art, and art as a tool for the treatment of mental illness. While American Self-Taught is visually thrilling, The Artist Outsider offers provocative food for thought to all who deal with art history. Both are highly recommended for all large art collections; The Artist Outsider is essential for academic collections.
- Kathleen Eagen Johnson, Historic Hudson Valley, Tarrytown, N.Y.
Copyright 1994 Reed Business Information, Inc.
- Kathleen Eagen Johnson, Historic Hudson Valley, Tarrytown, N.Y.
Copyright 1994 Reed Business Information, Inc.
