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Outsider to Insider: the Art of the Socially Excluded
Derleme Makale YAZ 2020/SAYI 24 Review Article SUMMER 2020/ISSUE 24 Kartal, B. (2020). Outsider to insider: The art of the socially excluded. yedi: Journal of Art, Design & Science, 24, 141-149. doi: 10.17484/yedi.649932 Outsider to Insider: The Art of the Socially Excluded Dışarıdan İçeriye: Sosyal Dışlanmışların Sanatı Burcu Kartal, Department of Cartoon and Animation, İstanbul Aydın University Abstract Özet The term outsider art was coined by the art historian Roger Cardinal Toplum dışı sanat olarak da tanımlanan Outsider Art terimi ilk kez in 1972. Outsider art includes the art of the ‘unquiet minds,’ self- 1972 yılında Roger Cardinal tarafından kullanılmıştır. Toplum dışı taught and non-academic work. Outsider art is not a movement like sanat, akademik eğitim almamış, kendisini bu alanda geliştirmiş, Cubism or Expressionism with guidelines and traditions, rather it is a toplumun ‘normal’ olarak sınıflandırdığı grubun dışında kalan reflection of the social and mental status of the artist. The bireylerin yaptığı sanattır. Toplum dışı sanatın, kübizm veya classification relies more on the artist than the art. Due to such dışavurumculuk gibi belirli kuralları, çizgisi yoktur; sanatçının akli ve characteristics of the term, like wide range of freedom and urge to sosyal statüsü üzerinden sınıflandırılır. Bu nedenle toplum dışı sanat create, social discrimination, creating without the intention of profit, sınıflandırması sanat değil sanatçı üzerindendir. Toplum dışı sanatın people with Autism Spectrum Disorder also considered as Outsiders. ana özellikleri içerisinde önüne geçilemez yaratma isteği, sosyal However, not all people with Autism Spectrum Disorder has the dışlanma, kazanç sağlama hedefi olmadan üretme olduğu skillset to be an artist. -
Guided Tours Unusual & Exclusive Groups / Individuals Cultival.Fr
GUIDED TOURS unusual & exclusive groups / individuals cultival.fr Cultival • @CultivalParis • #Cultival • #CultivalExperience Cultival makes you discover the most beautiful Parisian monuments “Live culture differently” is the ethos of Cultival, through which the agency offers unique behind the scenes tours of the monuments for which Paris is renowned for. Who has never dreamed of being With Cultival, it is now possible to locked in the Palais Garnier, just like discover the secrets of the most the Phantom of the Opera? To explore beautiful sites of Paris. Unmissable, the twists and turns of the Eiffel Tower? unusual, exclusive or fun, Cultival To discover the dark side of the City of tours are unique, high quality cultural Light? experiences. Cultival is also: More informations: • Events services [email protected] • Cultural gift certificates and gift boxes • Cultural solutions for Works councils • Customer fidelity programs 4 Cultival 450 000 visitors in 50% individuals 30% international figures 20 collaborating cultural monuments and sites Cultival behind the scene… Cultival is a genuine cultural outings management of the Palais Garnier agency, bringing together professionals guided tours. The agency then went who are passionate about culture and on to design an exclusive and unique performing arts. Behind the Scenes Tour of the Eiffel Tower. This has been followed by the The agency was created 18 years ago Cité des sciences et de l’industrie, the with the aim of helping visitors discover Muséum National d’Histoire Naturelle, what goes on behind the scenes of the Fondation Pierre Bergé - Yves Saint Parisian Theatres. Among the first Laurent, the Hôtel des Invalides, the theatres that joined us in this adventure Cité du Cinéma… were the Théâtre des Variétés, the Opéra Comique, the Théâtre Marigny, As a tourism and cultural operator, the Théâtre de la Porte Saint-Martin today Cultival is trusted by 20 Parisian and the Théâtre des Bouffes-Parisiens. -
Spring 2005 Newsletter of the Middlesex County Historical Society Historical Society Launches Web Site
Spring 2005 Newsletter Of the Middlesex County Historical Society Historical Society Launches Web Site Boot up your computer. Click on www.middlesexhistory.org. The Middlesex County Historical Society’s Web site is live and well! The just-launched Internet site is chockfull of information about upcoming events, exhibits, local history and Historical Society resources. The site is laid out in six sections—About Us, News & Programs, Local History, Collections, Kids & Teachers and Participate —with each section boasting five to ten individual pages. Visitors can learn about future walking tours, how General Mansfield died—even what’s for sale in the museum gift shop. The centerpiece of the new Web site is Their Own Stories: Voices from Middletown’s Melting Pot, a virtual tour of the acclaimed museum exhibit that graced our galleries from 2001-2003. On this special microsite, viewers can click through 350 years of our community’s history as told through the stories of families representing nearly a dozen different ethnic groups that made Greater Middletown their home. TheTheir Own Stories site was made possible through a generous grant from the Middlesex County Community Foundation. “With our new Web site, we can reach people all over the globe,” said Marnie Goodman, president of Historical Society, who spearheaded the development of the site. “The great characteristic of online technology is that “Whether people want information about our city’s past a Web site is infinitely expandable,” said Marnie. “Unlike or simply the starting time of our next walking tour, they a hard copy catalogue or book, we can add sections and can find it quickly and easily with a click of the mouse.” update information without significant expense. -
Outsider Art in Contemporary Museums: the Celebration of Politics Or Artistry?
L A R A O T A N U K E | T 2 0 1 S 8 I D E R A LET M E SAY THI S ABOUT THAT R T ANARTI STICCEL LETS EBRATIO NORAPO LITICALT RIUMPH TALK OUTSIDER ART IN CONTEMPORARY MUSEUMS: THE CELEBRATION OF POLITICS OR ARTISTRY? Student Name: Lara Tanke Student Number: 455457 Supervisor: B. Boross Master Art, Culture & Society Erasmus School of History, Culture and Communication Erasmus University Rotterdam ACS Master Thesis June, 2018 2 ABSTRACT Outsider Art is booming in the legitimate, contemporary art world (Tansella, 2007; Chapin, 2009). Contrary to Insider Art -objects that are created by trained artists on the basis of accepted, pre-existing concepts, frameworks or representations-, Outsider Art is made by untrained artists who create for no-one but themselves by reacting to internal, not external, prerequisites. It is their individual quirkiness and idiosyncrasy that stands out and for that reason, Outsider Art is celebrated because of the authentic autobiography of the maker. As Outsider Art is not based on a goldmine of traditions” (Tansella, 2007, p. 134) such as a predetermined vision and a stylistic framework -as it is the case with Insider Art-, gatekeepers want to make sure that audiences are aware of the difference between the oppositional categories: they deconstruct the aesthetic system by justifying the objects on the basis of the artist’s biography. The art evaluation of audience is affected by the authority that cultural institutions and the cultural elite enjoy when it comes to their legitimizing power to turn objects in to art (Becker, 1982; Bourdieu, 1984). -
Lack of Irony
1 L a c k o f i r o n y Note: you are reading an excerpt from: James Elkins, “Failure in Twentieth-Century Painting” (unpublished MS) Revised 9.2001 This page was originally posted on: www.jameselkins.com Send all comments to: [email protected] Part Two – 2 – 3: Lack of irony I cannot tell you who told me or in what footnote it sat hidden. This and other disjecta membra, the abused here drawn together with pain for their further dis- memberment, I offer to the presiding judge of our art, self-pleasured Ironia. — Geoffrey Hill1 There are only a few times I have laughed out loud in an art gallery. When I saw Hofbauer’s Poutnik (Pilgrim, 1905) in the Veletriní Palác, Prague, I took in the rounded grassy hillside topped by a prehistoric dolmen, and I noticed the little fire burning in its passageway. I saw the bowed figure in the purple cape walking slowly up toward the dolmen. He looked intent on his druidical mysteries. That would have been enough, but then I focused on what was behind just behind him: a black panther, following along like an overfed housecat. That is when I laughed—it was just too much. Hofbauer (1869-1944) was the same generation as Frantisek Kupka (1871- 1951), and the two of them shared a humorlessness that has vanished from more recent Czech painting: but that fact doesn’t help me see druids (or religion, or painting) as Hofbauer did. I also laughed (though not so loudly) at the Bulgarian painter Boris Georgiev (1888-1962), who painted Eternal Road (1925, National Museum of Art, Sofia), where a semi-nude hero rests, adopting Hippolyte Flandrin’s famous pose, on a clifftop in an exotic arctic panorama that looks like a Fredrick Church composition painted by Puvis de Chavannes. -
Outsider Art Preview: Blurred Categories and Fairs Big and Small by Edward M
Outsider Art Preview: Blurred Categories and Fairs Big and Small by Edward M. Gómez on May 3, 2014 Mehrdad Rashidi, “Untitled” (circa 2009), ballpoint pen ink on found paper (courtesy of Henry Boxer Gallery, London) Has the outsider art field become a victim of its own success? If so, it is a peculiar “victim,” and its success must be measured by standards that go beyond the money-obsessed art world’s primary criterion for determining aesthetic value — the price tag that any specific work happens to sport at any given time. “This was the year that outsider art came in from the cold,” the New York Times reported last December in a year-end, art-news summary, with late-to-the-party breathlessness. That observation packed a loaded assumption. From exactly which “cold” precincts did outsider art supposedly emerge? As the Times pointed out, offering a rationale for its assertion, outsider 1/11 Outsider Art Preview: Blurred Categories and Fairs Big and Small art had been featured “most prominently in the centerpiece exhibition of the [2013] Venice Biennale.” That big show at the Biennale, which was titled The Encyclopedic Palace, placed outsider art right alongside the products of academically trained artists (among them: Bruce Nauman, Charles Ray, Cindy Sherman and other big-brand-name contemporaries). In fact, for a long time now, the market for the creations of the best self-taught artists has been hot, hot, hot — increasingly visible in the mainstream media, more and more popular among general-interest audiences, and, yes, ever more costly in gallery, art fair and auction sales. -
Sternberg Press / Style Sheet
STERNBERG PRESS / STYLE SHEET • Titles: First and all significant words in text/essay titles are capitalized • Titles of books, artworks, films, musical albums etc. are italicized • Titles of exhibitions, essays, poems, songs, short stories, etc. appear within double quotation marks (“ ”) • Punctuation: following American standards, punctuation appears within the quotation marks (with the exception of colons or semi-colons, i.e. “free speech”:). Also consistent with American standards, a serial comma is used in a phrase with three or more elements, preceding an “and,” “or,” etc.: “There were lectures, performances, and screenings.” • Quoted material: All quotes appear within double (“ ”) quotation marks. The same is the case with words used by an author in a pejorative (critical/disbelieving/sardonic) way, i.e. I became a “serious” artist. Single quotations appear only when there is a quotation within a quotation. Quotations within block quotations should be contained with double quotation marks. • Foreign words and words that need special emphasis are italicized, although the use of italics for emphasis should be done sparingly. • Artistic/Architectural styles: Names of specific artistic styles are uppercased unless they are used in a context that does not refer to their specific art-historical meaning, however “modernism” is always lowercase. Example 1: “Her piece was characteristically minimalistic.” Example 2: “This sculpture bears all the markings of the Minimalist movement.” • Dates/Years: Consistent with American format: February 6, 2005 / 1960s / 1990 / centuries are spelled out, i.e. the twentieth century, and hyphenated when used as an adjective, i.e. twentieth-century architecture. Abbreviated decades are written with an apostrophe (not single quotation mark) (i.e., ’60s). -
Backstage Auctions, Inc. the Rock and Pop Fall 2020 Auction Reference Catalog
Backstage Auctions, Inc. The Rock and Pop Fall 2020 Auction Reference Catalog Lot # Lot Title Opening $ Artist 1 Artist 2 Type of Collectible 1001 Aerosmith 1989 'Pump' Album Sleeve Proof Signed to Manager Tim Collins $300.00 AEROSMITH - TIM COLLINS COLLECTION Artist / Musician Signed Items 1002 Aerosmith MTV Video Music Awards Band Signed Framed Color Photo $175.00 AEROSMITH - TIM COLLINS COLLECTION Artist / Musician Signed Items 1003 Aerosmith Brad Whitford Signed & Personalized Photo to Tim Collins $150.00 AEROSMITH - TIM COLLINS COLLECTION Artist / Musician Signed Items 1004 Aerosmith Joey Kramer Signed & Personalized Photo to Tim Collins $150.00 AEROSMITH - TIM COLLINS COLLECTION Artist / Musician Signed Items 1005 Aerosmith 1993 'Living' MTV Video Music Award Moonman Award Presented to Tim Collins $4,500.00 AEROSMITH - TIM COLLINS COLLECTION Awards, Plaques & Framed Items 1006 Aerosmith 1993 'Get A Grip' CRIA Diamond Award Issued to Tim Collins $500.00 AEROSMITH - TIM COLLINS COLLECTION Awards, Plaques & Framed Items 1007 Aerosmith 1990 'Janie's Got A Gun' Framed Grammy Award Confirmation Presented to Collins Management $300.00 AEROSMITH - TIM COLLINS COLLECTION Awards, Plaques & Framed Items 1008 Aerosmith 1993 'Livin' On The Edge' Original Grammy Award Certificate Presented to Tim Collins $500.00 AEROSMITH - TIM COLLINS COLLECTION Awards, Plaques & Framed Items 1009 Aerosmith 1994 'Crazy' Original Grammy Award Certificate Presented to Tim Collins $500.00 AEROSMITH - TIM COLLINS COLLECTION Awards, Plaques & Framed Items 1010 Aerosmith -
Rare Visions and Roadside Revelations” Episode Guide (1996 - 2010)
“RARE VISIONS AND ROADSIDE REVELATIONS” EPISODE GUIDE (1996 - 2010) NOTE: Main titles refer to specific DVD collection ”Who Says Kansas is Dull”? (1995) - First episode, only issued on VHS MILES & MILES... #201 (1996) - Warrensburg, MO to Sikeston, MO Stops in Missouri include J.C. Carter's metal sculptures and singing dogs near Warrensburg; the world's second-largest collection of farm implement seats in Iona; Larry Bagget's stonework, including a monument to the Trail of Tears outside Rolla; and Lambert's Restaurant, "home of the throwed rolls," in Sikeston. MILES & MILES... #202 (1996) - Hornersville, MO to Fulton, MO Stops include the gravesite of Major Ray, real-life inspiration for Buster Brown, in Hornersville, MO; the workshop of whirligig artist John North in Alton, IL; the Shrine of the Black Madonna in Eureka, MO; and the Elvis Is Alive Museum off I-70 at Wright City. / Ken and Kate Anderson Collection MILES & MILES... #203 (1996) - Springfield, MO to Conway, AK Stops include a visit with painter Robert E. Smith in Springfield, MO; Ralph Lanning's Roadside Sculpture Park in Republic, MO; Quigley's Castle and a giant Ozark shoe tree outside Eureka Springs, AR; and Tiny Town and the bathhouses of Hot Springs, AR. Michael Brewer, half of the musical duo Brewer and Shipley, sings "I Hate Country" on Highway 76 in Branson, MO. PROWLINʼ THE PRAIRIE #204 (1996) - Catoosa, OK to Erie, KS Sights include a 300-foot fence sculpted from tools and appliances in Collinsville, OK; Ed Galloway's Totem Pole Park near Foyil, OK; Big Brutus, the electric mining shovel in West Mineral, KS; the Dinosaur Not-So-National Park near Erie, KS; and "the Flying Nun House" in Pittsburg, KS. -
Word Play, Outsider Art, and Drawing the Line
June 2013 Page 1 of 3 Gallery Picks of the Month: Word play, outsider art, and drawing the line "World Play: Simeen Farhat," at Cris Worley Fine Arts June 29-August 3. Photo courtesy of Cris Worley Fine Arts A fresh exploration of outsider art, a three-dimensional artist’s statement in colorful resin, and drawings that line up some top contemporary talent: These are just a few of the reasons to visit our top art gallery picks in the coming month. THOMAS KENNAUGH: Solo Exhibition at Photographs Do Not Bend Opening reception: June 29, 5-8 pm Exhibition dates: June 29-August 3 Generally defined as art created outside the boundaries of official culture, outsider art encompasses works from the naïve, the untrained, the visionary, June 2013 Page 2 of 3 and the mentally or emotionally challenged. Having curated artists of this genre in Columbus, Ohio, Thomas Kennaugh was inspired to create his own compelling collages and sculptures. A buyer and seller of fine art and photography since 1974, Kennaugh draws on his vast archives to make each of his multilayered pieces, which have more than a little in common with the likes of Joseph Cornell and Peter Blake. Now based in Denton, he reveals his latest collages in his first Texan exhibition at PNDB. The “Victorian futurism” explored in the steampunk movement also has an influence on Kennaugh, who cites sources such as Norman Brosterman’s Out of Time: Designs for the Twentieth-Century Future — featuring visions of the flying cities and bubble-topped cars from the 19th and 20th centuries — as an ongoing inspiration. -
The New York Times the Outsider Fair Made Art 'Big' Again
The Outsider Fair Made Art ‘Big’ Again By ROBERTA SMITH JAN. 19, 2017 One of Morton Bartlett’s half-size anatomically correct prepubescent girls from 1950. Morton Bartlett, Marion Harris New York’s Outsider Art Fair, which opened Thursday, is celebrating its 25th anniversary. It made its debut in 1993 in the 19th-century Puck Building in SoHo’s northeast corner. I saw the first iteration, reviewed the second and wrote about it many times after that. I enjoy most art fairs for their marathon-like density of visual experience and information, but the Outsider fair quickly became my favorite. It helped make art big again. An untitled painting by Henry Darger of his intrepid Vivian Girls. 2017 Henry Darger/Artists Rights Society (ARS), New York; Andrew Edlin Gallery The focus of the fair, according to its founder, Sanford L. Smith, known as Sandy, was the work of outsider artists, a catchall phrase for many kinds of self-taught creators. (Mr. Smith credited the phrase to Roger Cardinal, the art historian and author of “Outsider Art,” published in 1972.) Outsider work connoted a certain purity — an unstoppable need to make art that was unsullied by the “insider” art world, with its fine-art degrees and commercial machinations that always struck me as rather hoity-toity. Distinct from folk artists who usually evolved within familiar conventions, outsider artists often worked without precedent in relative isolation. They could be developmentally disabled, visionary, institutionalized, reclusive or simply retirees whose hobbies developed an unexpected intensity and originality. The term has long been the subject of debate, and its meaning has become elastic and inclusive. -
RIS Volume6number2.Pdf
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