Everyday Genius: Self-Taught Art and the Culture of Authenticity by Gary Alan Fine |
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In 1912 Paul Klee declared that the art of the mentally ill, as well as the art of children, "really should be taken far more seriously than are the collections of all our art museums if we truly intend to reform today's art". What Klee found most fascinating and instructive about the art of "outsiders" - those self-taught individuals, sometimes mentally disturbed, who create while isolated from mainstream culture - was the sincerity, depth and power of their unadulterated, unmediated expressions. "Parallel Visions", an exhibition and catalogue organized and produced by the Los Angeles County Museum of Art, reveals the considerable influence that outsider art has had on the development of 21-century art. The work of such "marginalized" artists and compulsive visionaries as Antonin Artaud, Ferdinand Cheval, Henry Darger, Howard Finster, Madge Gill, Martin Ramirez, P.M. Wentworth, Adolf Wolfli, and Joseph Yoakum is juxtaposed with the work of devotees of outsider art among modern artists. Essays by the curators of the exhibition and other commentators offer a history of this phenomenon as well as an exploration of issues crucial to the formation of our aesthetic and critical judgements and our notions of creativity.
In 1912 Paul Klee declared that the art of the mentally ill, as well as the art of children, "really should be taken far more seriously than are the collections of all our art museums if we truly intend to reform today's art". What Klee found most fascinating and instructive about the art of "outsiders" - those self-taught individuals, sometimes mentally disturbed, who create while isolated from mainstream culture - was the sincerity, depth and power of their unadulterated, unmediated expressions. "Parallel Visions", an exhibition and catalogue organized and produced by the Los Angeles County Museum of Art, reveals the considerable influence that outsider art has had on the development of 21-century art. The work of such "marginalized" artists and compulsive visionaries as Antonin Artaud, Ferdinand Cheval, Henry Darger, Howard Finster, Madge Gill, Martin Ramirez, P.M. Wentworth, Adolf Wolfli, and Joseph Yoakum is juxtaposed with the work of devotees of outsider art among modern artists. Essays by the curators of the exhibition and other commentators offer a history of this phenomenon as well as an exploration of issues crucial to the formation of our aesthetic and critical judgements and our notions of creativity.
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10
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- Miracles of the Spirit: Folk, Art, and Stories from Wisconsin by Don Krug on 6 pages
- Songs in the Key of Z: The Curious Universe of Outsider Music by Irwin Chusid in Front Matter, and Back Matter
- Spirituality and Art Therapy: Living the Connection by Mimi Farrelly-Hansen in Front Matter (1), and Front Matter (2)
- Art with a Difference: Looking at Difficult and Unfamiliar Art by Leonard Diepeveen on page 71, and page 73
- Trauma and Visuality in Modernity (Interfaces: Studies in Visual Culture) by Lisa Saltzman on page 129
See all 10 books citing this book
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