American Self Taught
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Author | : Frank Maresca |
Publisher | : Alfred A. Knopf |
Total Pages | : 328 |
Release | : 1993 |
Genre | : Art |
ISBN | : |
Cent peintres autodidactes américains du vingtième siècle - incluant Victor Duena, la Soeur Gertrude Morgan, Henry Darger et Freddie Brice, avec 260 reproductions toutes en couleurs de leurs oeuvres.
Author | : Heather Andrea Williams |
Publisher | : ReadHowYouWant.com |
Total Pages | : 322 |
Release | : 2009-06-03 |
Genre | : |
ISBN | : 1442995408 |
Author | : Elsa Weiner Longhauser |
Publisher | : Chronicle Books (CA) |
Total Pages | : 264 |
Release | : 1998 |
Genre | : Art |
ISBN | : |
Today the work of so-called "outsider" artists is receiving unprecedented attention. This major critical appraisal of America's 20th-century self-taught artists coincides with a major 1998 traveling exhibition organized by the Museum of American Folk Art in New York. While some of these artists have received critical recognition, others remain virtually unknown, following their muse regardless. 150 color images.
Author | : Charles Russell |
Publisher | : Univ. Press of Mississippi |
Total Pages | : 252 |
Release | : 2001 |
Genre | : Art |
ISBN | : 9781578063802 |
The first book to give self-taught art the same degree of scholarly attention and critical thinking that mainstream art traditionally receives
Author | : Katherine Jentleson |
Publisher | : University of California Press |
Total Pages | : 264 |
Release | : 2020-04-07 |
Genre | : Art |
ISBN | : 0520303423 |
After World War I, artists without formal training “crashed the gates” of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson “Grandma” Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.
Author | : Carol Crown |
Publisher | : Univ. Press of Mississippi |
Total Pages | : 220 |
Release | : 2004 |
Genre | : Art |
ISBN | : 9781578066599 |
A fascinating examination of the Bible's influence on seventy-three self-taught artists and 122 works of art
Author | : Betty-Carol Sellen |
Publisher | : Neal-Schuman Publishers |
Total Pages | : 504 |
Release | : 1993 |
Genre | : Art |
ISBN | : |
The biographical section of this resource records 1000 US artists. Other sections contain lists of museums with folk, self-taught and outsider art in their permanent collections; galleries; organisations; publications; exhibitions; educational opportunities; and an annotated bibliography.
Author | : Frank Maresca |
Publisher | : Bulfinch Press |
Total Pages | : 303 |
Release | : 2002 |
Genre | : Art |
ISBN | : 9780821227800 |
A groundbreaking retrospective of art from "off the beaten path" sculpture features spectacular images from a wide variety of American artists and craftspeople, in a study that includes everything from religious totems and antique trade signs to hand-carved canes. 12,500 first printing.
Author | : Alice Rae Yelen |
Publisher | : University Press of Mississippi |
Total Pages | : 356 |
Release | : 1993 |
Genre | : Art |
ISBN | : |
In recent years, the artwork of the self-taught has gained increasing recognition in the mainstream art world. The New Orleans Museum of Art, a leading institution in the field, organized this exhibition identifying and documenting the superb aesthetic achievement of selected artists from thirteen Southern states who, by definition, have not sought didactic art training, traditional diplomas, or association with other artists or with the established art world in general. This overview of painting and sculpture is the first large-scale effort to consider the work of self-taught Southern artists according to intrinsic artistic merit and without regard to race, religion, or gender.--Adapted from foreword, p. 6.
Author | : Gary Alan Fine |
Publisher | : University of Chicago Press |
Total Pages | : 343 |
Release | : 2006-08-01 |
Genre | : Social Science |
ISBN | : 0226249603 |
From Henry Darger's elaborate paintings of young girls caught in a vicious war to the sacred art of the Reverend Howard Finster, the work of outsider artists has achieved unique status in the art world. Celebrated for their lack of traditional training and their position on the fringes of society, outsider artists nonetheless participate in a traditional network of value, status, and money. After spending years immersed in the world of self-taught artists, Gary Alan Fine presents Everyday Genius, one of the most insightful and comprehensive examinations of this network and how it confers artistic value. Fine considers the differences among folk art, outsider art, and self-taught art, explaining the economics of this distinctive art market and exploring the dimensions of its artistic production and distribution. Interviewing dealers, collectors, curators, and critics and venturing into the backwoods and inner-city homes of numerous self-taught artists, Fine describes how authenticity is central to the system in which artists—often poor, elderly, members of a minority group, or mentally ill—are seen as having an unfettered form of expression highly valued in the art world. Respected dealers, he shows, have a hand in burnishing biographies of the artists, and both dealers and collectors trade in identities as much as objects. Revealing the inner workings of an elaborate and prestigious world in which money, personalities, and values affect one another, Fine speaks eloquently to both experts and general readers, and provides rare access to a world of creative invention-both by self-taught artists and by those who profit from their work. “Indispensable for an understanding of this world and its workings. . . . Fine’s book is not an attack on the Outsider Art phenomenon. But it is masterful in its anatomization of some of its contradictions, conflicts, pressures, and absurdities.”—Eric Gibson, Washington Times