Although her work is referred to in
outsider artist terms, Mae Engron was an African American abstract colorist trained at Indiana University Herron School of Art.
Not exact matches
Though the art world may not yet have a satisfactory way of referring to
artists like Mullen, who are variously described by such leaky
terms as self - taught,
outsider, and vernacular, it has, over the past few years, shown more interest in them and is gradually growing the existing market for their work.
Folk, naïve, vernacular, visionary,
outsider, self - taught — over the past century, a range of
terms has emerged to describe
artists who rose to prominence despite a lack of formal training.
There, he revealed his deep passion for performative practices and so - called «
outsider»
artists with two trailblazing shows: «Radical Presence: Black Performance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory
term «
outsider art» by bringing together both self - taught and formally educated black
artists.
Usually regarded in
terms of singularity, the very
term «
Outsider Art» celebrates an
artist's unique experience or vision.
Not even the vogue
term «
outsider artist» fit the quiltmakers of Gee's Bend comfortably.
It is difficult to precisely define what faux - naive means, but, loosely speaking, it is a
term often attached to contemporary painting that actively embraces elements from the visual language associated with
outsider and self taught
artists.
Taking his cue from Glenn Ligon and Thelma Golden's 2001 exploratory concept of «post-Black» — a
term describing
artists adamantly against being labeled «black
artists» so that they might explore a multiplicity of ideas concerning racial blackness — Majeed engages these questions around folk and
outsider by adopting a similar non-essentialist and inquisitive stance in Post Black Folk Art in America.
In his depiction of this, Bas makes a gentle nod to Théodore Gericault's The Raft of the Medusa, 1818 - 19, although allusions to classical themes and genres are always viewed through the prism of his interpretations as an observer and an
outsider — whether trying to follow in the footsteps of Lord Byron, or portraying punters or freshers,
terms unknown to the
artist before his Cambridge sojourn.
«
Outsider Art» is a
term describing
artists have little or no contact with the mainstream art world or art institutions.
We will also discuss the often fraught
terms used to categorize folk /
outsider / self - taught / visionary
artists and I hope to be able to touch on the importance of the Kentuck Festival in championing the work of many of these
artists.»
By Betty Ann Brown French
artist Jean Dubuffet coined the
term art brut (usually translated into English as «
Outsider Art») to refer to work «created by people outside the professional art world... from their own depths and not from the stereotypes of Classical or fashionable art.»
The exhibition Outliers and American Vanguard Art, at the National Gallery of Art in Washington, DC, aims to reconsider the ubiquitous but limited «
Outsider» designation as an umbrella
term for autodidact
artists.
Like many «
outsider» (an antiquated, exoticizing
term)
artists adopted into the contemporary art market, Mullen is a bit of a conundrum despite obvious natural talent.
Since the early 20th - century, the
terms Outsider Art and Art Brut have encouraged a problematic distinction between mainstream art and that created by
artists with little or no knowledge of the wider art world.
Termed an
outsider artist, a vernacular
artist, and a folk
artist, among other labels, Dial, who was African American, was one of just a few self - taught
artists who, over the past century, began making art well beyond the borders of the predominantly urban, white mainstream art world but who would eventually find a form of success within it.
Outsider art is the common Anglicized
term for the category art brut, founded by the
artist Jean Dubuffet, whose earliest inductees were asylum patients, mediums, and visionaries who he praised for their «unselfconscious imagery born of pure, uninhibited expression.»