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Post by Admin on Nov 18, 2021 8:34:47 GMT
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Post by Admin on Nov 18, 2021 8:36:59 GMT
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Post by Admin on Nov 18, 2021 8:38:38 GMT
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Post by Admin on Nov 18, 2021 11:20:26 GMT
A few books on the subject -
Outsider Art: Visionary Worlds and Trauma by Daniel Wojcik
"Outsider art has exploded onto the international art scene, gaining widespread attention for its startling originality and visual power. As an expression of raw creativity, outsider art remains associated with self-taught visionaries, psychiatric patients, trance mediums, eccentric outcasts, and unschooled artistic geniuses who create things outside of mainstream artistic trends and styles. Outsider Art: Visionary Worlds and Trauma provides a comprehensive guide through the contested terrain of outsider art and the related domains of art brut, visionary art, ""art of the insane,"" and folk art. The book examines the history and primary issues of the field as well as explores the intersection between culture and individual creativity that is at the very heart of outsider art definitions and debates.
Daniel Wojcik's interdisciplinary study challenges prevailing assumptions about the idiosyncratic status of outsider artists. This wide-ranging investigation of the art and lives of those labeled outsiders focuses on the ways that personal tragedies and suffering have inspired the art-making process. In some cases, trauma has triggered a creative transformation that has helped artists confront otherwise overwhelming life events. Additionally, Wojcik's study illustrates how vernacular traditions, religious worldviews, ethnic heritage, and popular culture have influenced such art. With its detailed consideration of personal motivations, cultural milieu, and the potentially therapeutic aspects of art making, this volume provides a deeper understanding of the artistic impulse and human creativity."
Outsider Art: Past, Present & Perspectives by Natascha Kirchner
"The book is based on a symposium organized by Luise von Dryander and Natascha Kirchner at the Heinrich-Heine-University in Düsseldorf. For a long time the field of art science has been fascinated by the unlimited creative potential of forms and movements of art besides the academic cultural activities. The term "Outsider Art" (originally meant as translation for the "Art Brut" of Jean Dubuffet) stands for existential works of art, which deals with the limits of human thinking and causes fundamental questions of existence. The book brings together international voices from science and practical experience, which deal with the topic in a critical way, so it gives a broad and complex insight into a fascinating field, as interdisciplinary methods and theories of art history and philosophy are examined as well as contemporary practises of presentation and mediation or examples of historical and contemporary exhibition practises, art market research, and artistic sponsorship."
Outsider Art: From the Margins to the Marketplace by David MacLagan
"Outsider art is work produced outside the mainstream of modern art by self-taught visionaries, spiritualists, eccentrics, recluses, psychiatric patients, criminals and others beyond the perceived margins of society. Coined in 1972 the term is derived from art brut', which the artist Jean Dubuffet began promoting just after the Second World War. Both focus on the idea of a raw', untaught creativity, which is still a contentious and much-debated issue. Is this a natural phenomenon, requiring only the right circumstances (isolation or alienation) to be revealed; or is it more like a mirage projected by the very culture it is supposed to be escaping from? Behind the polemic and the commercial hype lies a cluster of assumptions about creative drives, the expression of inner worlds, radical originality and the artist's social or psychological eccentricity. Although Outsider art is often presented as a recent discovery, these ideas belong to a tradition that goes back to the Renaissance, when the modern image of the artist began to take shape. If Outsiders are in some way outside' the conventional art world, what happens to them, and to the works they create, when they are introduced to it? David Maclagan has been writing on Outsider art for over twenty-five years, and this book sets out to challenge many of the received ideas in the field. This book will be of interest to the growing number of people interested in the field of Outsider art, and all those studying concepts of artistic creativity and their cultural background."
Outsider Art and Art Therapy: Shared Histories, Current Issues, and Future Identities by Rachel Cohen
"Outsider art, traditionally the work of psychiatric patients, offenders and minority groups, and art therapy have shared histories of art created in psychiatric care. As the two fields grow, this book reveals the current issues faced by both disciplines and traces their shared histories to help them build clearer and more coherent identities.
More often than not, the history of art therapy has been tied to psychological and psychiatric roots, which has led to problems in defining the field and forced boundaries between what is considered 'art' and what is considered 'art therapy'. Similarly, the name and identity of outsider art is constantly debated. By viewing art therapy and outsider art through their shared histories, this book helps to alleviate the challenges and issues of definition faced by the fields today."
Outsider & Vernacular Art: The Victor Keen Collection by The Victor Keen Collection
"In the last five decades the popularity of outsider art – works by artists working outside of the art establishment – has grown exponentially. Museums, galleries, and the public worldwide have embraced these powerful works. Victor Keen’s Collection at the Bethany Mission Gallery, Philadelphia, is one of the leading outsider art collections in the U.S.
Gathering masterful artworks from Victor Keen’s collection, Outsider & Vernacular Art presents pieces from more than forty outsider artists, including such luminaries as James Castle, Thornton Dial, Sam Doyle, Howard Finster, William Hawkins, Martín Ramírez, Bill Traylor, and George Widener. In addition to these outsider artworks, the book also features folk art and vernacular art, including one of the best collections of delightful colourful Catalin radios from the 1920s to the 1940s. The more than two hundred colour images of these works are accompanied by essays from Frank Maresca, Edward Gómez and Lyle Rexer. Published to accompany a major exhibition at the Sangre de Cristo Arts and Conference Center in Pueblo, Colorado, in October 2019 – the first station of a travelling exhibi-tion – Outsider & Vernacular Art offers an exciting look at this universally beloved and revered art form."
Outsider Art of the South by Kathy Moses
"Here is an intimate glimpse into the lives and work of thirty-four self-taught artists, two folk art environments, and one museum, which tells the tale of a region's fast-disappearing way of life. Kathy Moses' thoughtful, insightful portraits introduce us to these men and women, some of whom are well known and some not so well known, but who all are driven by a compelling need to create. Their stories are told with warmth, affection, and respect. For many of these artists, this is the first time they have been presented to a wider audience. With 375-plus photographs, the book beautifully illustrates the range of each artist's work, with more examples per artist than has been shown before. The book is also an invaluable reference guide, with a source section that lists museums and galleries where the art may be seen and purchased, a retail price guide, a bibliography, and many organizations, publications, shows, and auctions devoted to Southern folk, outsider, and visionary art."
The Outsider, Art and Humour (Routledge Advances in Art and Visual Studies) by Paul Clements
"This cross-disciplinary book, situated on the periphery of culture, employs humour to better comprehend the arts, the outsider and exclusion, illuminating the ever-changing social landscape, the vagaries of taste and limits of political correctness.
Each chapter deals with specific themes and approaches – from the construct of outsider and complexity of humour, to Outsider Art and spaces – using various theoretical and analytical methods. Paul Clements draws on humour, especially from visual arts and culture (and to a lesser extent literature, film, music and performance), as a tool of ridicule, amongst other discourses, employed by the powerful but also as a weapon to satirize them. These ambiguous representations vary depending on context, often assimilated then reinterpreted in a game of authenticity that is poignant in a world of facsimile and 'fake news'. The humour styles of a range of artists are highlighted to reveal the fluidity and diversity of meaning which challenges expectations and at its best offers resistance and, crucially, a voice for the marginal.
This book will be of particular interest to scholars in art history, cultural studies, fine art, humour studies and visual culture."
The Colorful Apocalypse: Journeys in Outsider Art by Greg Bottoms
"The Reverend Howard Finster was twenty feet tall, suspended in darkness. Or so he appeared in the documentary film that introduced a teenaged Greg Bottoms to the renowned outsider artist whose death would help inspire him, fourteen years later, to travel the country. Beginning in Georgia with a trip to Finster's famous "Paradise Gardens", his journey - of which "The Colorful Apocalypse" is a masterly chronicle - provides an unparalleled look into the lives and visionary works of some of Finster's contemporaries: the self-taught evangelical artists whose beliefs and oeuvres occupy the gray area between madness and Christian ecstasy. With his prodigious gift for conversation and quietly observant storytelling, Bottoms draws us into the worlds of such figures as William Thomas Thompson, a handicapped ex-millionaire who painted a 300-foot version of the book of Revelation; Norbert Kox, an ex-member of the Outlaws biker gang who now lives as a recluse in rural Wisconsin and paints apocalyptic visual parables; and Myrtice West, who began painting to express the revelatory visions she had after her daughter was brutally murdered. These artists' works are as wildly varied as their life stories, but without sensationalizing or patronizing them, Bottoms - one of today's finest young writers - gets at the heart of what they have in common: the struggle to make sense, through art, of their difficult personal histories. In doing so, he weaves a true narrative as powerful as the art of its subjects, a work that is at once an enthralling travelogue, a series of revealing biographical portraits, and a profound meditation on the chaos of despair and the ways in which creativity can help order our lives."
Yayoi Kusama (Lives of the Artists) by Robert Shore
"Nonagenarian Japanese artist is simultaneously one of the most famous and most mysterious artists on the planet. A wild child of the 1950s and 1960s, she emerged out of the international Fluxus movement to launch naked happenings in New York and went on to become a doyenne of that city's counter-cultural scene. In the early 1970s, she returned to Japan and by 1977 had checked herself in to a psychiatric hospital which has remained her home to this day. But, though she was removed from the world, she was definitely not in retirement. Her love and belief in the polka dot has given birth to some of the most surprising and inspiring installations and paintings of the last four decades - and made her exhibitions the most visited of any single living artist."
Outsider Inpatient: Reflections on Art as Therapy by Elisabeth Punzi (Author), Vanessa Sinclair (Author), & 6 more
"Outsider Inpatient is an anthology of perspectives about the value of art and creativity within psychiatric environments. It specifically shines the light on experiences at Lillhagen Hospital in Gothenburg, Sweden, where inpatients were allowed to paint and decorate the entire walls of long corridors in the basements of the hospital. Also included are valuable thoughts about creativity in general from clinicians, art historians, psychoanalysts, and artists. What constitutes “outsider” art? How can creativity be used in the treatment of (in)patients? Why do certain artists create the way they do, and how does it affect them? Outsider Inpatient is an informative study about a topic that has created as much controversy and criticism as it has support and adherents, in environments as diverse as clinical psychiatry and psychology, art theory, social sciences, psychoanalysis and philosophy. This book has been produced in cooperation with the Center for Critical Heritage Studies and the University of Gothenburg, and contains texts by Elisabeth Punzi, Per Magnus Johansson, Johannes Nordholm, Inez Edström, Christian Munthe, Carl Abrahamsson, Vanessa Sinclair, and Val Denham.Trapart Books 2021, 6 x 9” paperback, 100 pages, illustrated."
Raw Erotica: Sex, Lust and Desire in Outsider Art by John Maizels (Author), Colin Rhodes (Author), Roger Cardinal (Author)
Outsider Art Tarot Cards – Box set by Rita Rose (Author), Jana Pesek (Illustrator)
Delight your senses and your sense of humor with this colorful, whimsical, and rebelliously unique 78-card Tarot deck. With vibrant art created in the raw, intuitive ""outsider art"" or art brut style, this deck follows the traditional symbolism of the Tarot in a creatively quirky but highly accessible way. Here you will find pierced and pointy-breasted maidens questing on unicorns, double-faced shamans, turkey queens, elephant angels, and the never-ending dance of light and dark throughout. Each archetypal card contains many layers of meaning and is infused with alchemical, astrological, and esoteric symbolism from several magical and shamanic traditionsdifferent paths leading to the same final destination: Within. The accompanying guidebook presents clear explanations for each card, including reversals and bonus meanings that the artist received directly while ""downloading"" her art from the Creative Ether. Let the power of this revolutionary deck transform you from the inside out.
Quotes from Amazon.
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Post by Admin on Feb 22, 2022 19:53:23 GMT
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Post by Admin on Mar 11, 2022 18:57:06 GMT
The Looting of “Outsider Art” by Psychiatry Continues Today Authoritarian revisionism in Heidelberg psychiatry, the legacy of Hans Prinzhorn and Carl Schneider: How a psychiatrist's reaction to the Dada exhibitions in the First World War led to the Nazis' medically based mass murders in the Second World War. The true story of the infamous "Prinzhorn" collection at the Heidelberg University and the purpose it served. By Hagai Aviel & René Talbot -March 10, 2022 www.madinamerica.com/2022/03/looting-outsider-art-psychiatry/In the early 20th century, the medical psychiatric obsession of diagnosing not only humans but also their artworks as “insane” led to the looting of their artworks in psychiatries and asylums. Hans Prinzhorn led the movement and took advantage of the common practice in psychiatric institutions throughout Germany, including Heidelberg, for psychiatrists to take possession of these works, who included them in the medical records as clinical evidence to support their psychiatric diagnoses. This was comparable to the looting by the colonial masters. This slander still holds today, where the artwork of people with psychiatric diagnoses is labelled “outsider art” and exhibited in a segregated fashion as novelties, rather than “real art”. The discussion around these “outsider art” pieces always revolves around understanding the diagnosis of the artist, rather than evaluating the art itself and its message. The clearest example of the injustices still being perpetrated is the German museum of the Prinzhorn Collection, which opened in 2001 and exhibits the stolen art of those considered by the Nazis to be “degenerates”. As a way to address this ongoing discrimination and finally disprove the myth of art and madness, the authors propose an exhibition in a prominent location only of works of art by authors who remain anonymous, a wild mixture of authors who were suppressed in coercive psychiatry and by psychiatrists. Foreword It is now one hundred years since Hans Prinzhorn published his book “Bildnerei der Geisteskranken” (“pictorial products of the mentally ill”) in 1922. High time then, to take stock of the trail of destruction left by this concept of medicalising and therefore pathologising works of art. The hegemonic narrative is that insane “outsider art” was discovered by this German psychiatrist who collected the works in the Heidelberg University Hospital at which he worked and disclosed their existence by publishing this groundbreaking book that made these works and their influence known to the world. When we came across a recent version of this cliché written by The Guardian journalist Charlie English, we, the International Association Against Psychiatric Assault, decided that it was time to publish a different view of this event, based both on knowledge of the facts and its chronology and aimed at restoring human dignity to the victims. We refute the mystification of “art and madness” by showing the significance of Hans Prinzhorn for the Nazi specific concept of “degenerate art”. Prinzhorn was an ideological precursor of systematic medical mass murder (which in turn was an important waypost of the Shoah). In 1916 during World War I, the first Dada exhibition took place in Switzerland. “The first great anti-art-movement, Dadaism or Dada, was a revolt against the culture and values that had caused the carnage of the First World War. The movement quickly evolved into an anarchist form of avant-garde art whose aim was to undermine the value system of the ruling organisation that had allowed the war to happen, including the art institution, which they saw as inseparable from the socio-political status quo”.1 Several of the exhibitors, Hans Arp, Hans Richter, Walter Serner and Ferdinand Hardekopf contributed works while they were incarcerated in the Kilchberg psychiatric sanatorium.2 Of course, it can be argued that they were “mentally ill”,3 but it should also be remembered that several of them were not Swiss citizens and their stay in a mental institution offered them asylum from having to return to their countries and certain forced conscription. The background of the Dada exhibitions and perhaps other new art movements in the first years of the 20th century (Cubism, Futurism, Negro art, etc.4) is the reason for the reaction of authoritarian Heidelberg revisionism in the form of the Prinzhorn book, a reaction that defines the collection acquired in the psychiatric department of the University of Heidelberg. This is a diagnostic slander of the authors of the works in clinical-psychiatric terms. Prinzhorn wrote a letter in 1919 asking all institutions to send him works produced by their inmates. He thus took advantage of the common practice in psychiatric institutions throughout Germany, including Heidelberg, for psychiatrists to take possession of these works, who included them in the medical records as clinical evidence to support their psychiatric diagnoses. This was comparable to the looting by the colonial masters. Prinzhorn not only illegally collected5 these works (i.e. he did NOT buy/pay for the works) for a “museum of pathological art”6 or “his longed-for museum of pathological art”,7 but also did NOT regard them as works of art. Charlie English writes about this, but it becomes even clearer in the clinical term Prinzhorn gives to the title of his book: “Bildnerei”. It means something like “pictorial products”. The consequences A) The fact that the development of Dadaism had a profound impact on German art and poetry in the 1910s and 1920s allows only one conclusion: Dadaism was a real challenge to 20th century art and especially poetry, as it went against the traditional styles and values characteristic8 of traditional art and poetry in the social order, even if the Dadaists only experimented for about a decade. Nevertheless, Dadaist influences continued to be felt in the literary movements of the 20th century for a long time. Against this demolition of traditional boundaries, Heidelberg University Psychiatry, with Hans Prinzhorn’s collection “Bildnerei der Geisteskranken” (“pictorial products of the mentally ill”), medically labeled the artists as “mentally ill” based on psychiatric diagnoses, reinforcing the notion of pathologisation of art that originated at the end of 19th century. Art was thus no longer judged, or rather condemned, according to the work, but rather according to the supposedly “sick” mental state of the artists. We call this authoritarian revisionism.. Heidelberg University is guilty of reacting to the liberation of art through Dadaism with this authoritarian revisionism, thus revising this groundbreaking step for the modernising art of the 20th century. The “cathedral of reason”, the university and its psychiatry, initiated defining art as a disease by assigning it to the madness of the insane. This initiative continues to this day, as artists are still discriminated against as “artists who are different”9 if they come from or have already been interned in asylums and/or psychiatric institutions. Wilmanns and Prinzhorn intended to use the works of art which they had acquired in psychiatric institutions in bad faith, i.e. looted art, to establish the Psychopathological Museum in Heidelberg, which indeed was opened on 13 September 2001.10 “…if the Führer had not put a stop to it”.11 B) This basic structure was further developed in the next step from 1933: “ill” became “degenerate” (“entartet”). In German, the word has a special meaning due to the formative part of the word: “art”, which is often not understood in other languages. In German the word „art“ is in a biological context a basic unit of classification and a taxonomic rank of an organism. By using the word „entartet“, it not only defines a human illness, but worse, excludes a person from being part of the human race. The moral taboo of murder had thus been broken for persons who are defamed in this way. It marked the ideological preparation of exterminationist exclusion, first through forced sterilisation and marriage bans, then from 1939/40 through murder in gas chambers, which was exported to the gas murder factories in occupied Poland in 1942. From 1941, the centrally organised murders were transferred directly to the psychiatric prisons and continued through death by starvation until 1948/49. 12 C) The logical consequence of this radical exclusion was then openly expressed by Carl Schneider, Karl Wilmann’s successor as chief physician of Heidelberg University Psychiatry. In his lecture published by the “Archiv für Psychiatrie und Nervenkrankheiten” (Archive for Psychiatry and Neurological Diseases) in 1939, he described the objective that modern art and the creators of this art should meet the same fate as he executed on the mentally ill shortly afterwards, i.e. their murder. As with the insane, he would select them beforehand: the painter Otto Dix was specified! Then he would have them murdered in the same way, in order to then dissect their brains and to be able to present them as exhibits to his students in the lecture hall of the university psychiatry department, exactly where today the so-called “Prinzhorn Collection” is displayed, mocking its victims and demonstrating the hegemony and diagnostic power of psychiatry. D) This basic ideological structure was not broken after 1949, only the killing stopped. It continued unchanged in “Art and Delusion” and is still the basis of exhibitions such as the 2005 “Biennale meine Welt” at the Museum “Junge Kunst” in Frankfurt-Oder.13 That Charlie English actively collaborated with the Prinzhorn Collection for his book “The Gallery of Miracles and Madness” can then no longer come as a surprise, especially since he titles the fourth part of his book “Euthanasia“. This very word was used in the language of the doctor-Nazis to cover up murder and we tirelessly demanded to stop using it in our publication on 17.2.2009. Our appeal:14 Help make the perfect Nazi murders imperfect by…. 1) …getting the Nazi jargon “euthanasia” (= physician-assisted suicide) banned from language use when it refers to the systematic medical mass murder from 1939 to 1949. The Nazis used the word “euthanasia” to cynically imply that it was the victims themselves who wished to die. Whenever you use this term, the victims are once again degraded, even in this present day. When you use this word for the systematic medical mass murder from 1939 to 1949, you help to reproduce the doctors’ Nazi ideology, expressing solidarity with the perpetrators and participate in the attempt to cover up their guilt…. Conclusion We deplore the absence of a declaration of solidarity by the art world with the persecuted artists in psychiatry. Unfortunately, the art world has thus yet to take this step. In contrast, the Parisian students were exemplary when they demonstrated in solidarity against the expulsion of Daniel Cohn-Bendit by the De Gaulle government in 1968 with the slogan: We are all German Jews. A similar reaction is missing, because Lucy Wasensteiner’s 2019 book The Twentieth Century German Art Exhibition: Answering Degenerate Art in 1930s London15 about the 1939 London exhibition also precisely misses this point. Here, too, reference is made only to the “proper” art of the time, while the art of the alleged “insane and mentally ill” continues to go unmentioned, a discrimination, despite being threatened with murder and manslaughter, or being persecuted, imprisoned and mistreated. As a way to address this ongoing discrimination and finally disprove the myth of art and madness, we, IAAPA, propose an exhibition in a prominent location only of works of art by authors who remain anonymous, a wild mixture of authors who were suppressed in coercive psychiatry and by psychiatrists. For either modernism, like Dada, breaks with the boundaries of conventionality and normality in art, including anti-art, and abolishes these boundaries, or it clings to the idea that “mental illness” can show itself in “pictorial products” („Geisteskrankheit“ in “Bildnerei”) – Prinzhorn’s choice of words – that excludes from art the works by those imprisoned and slandered in the psychiatric wards. And of course, the collection of looted art in the lecture hall of the murderers in Heidelberg must finally be freed from the medical clutches of psychiatry and transferred to the museum “Haus des Eigensinns” until it can be handed over to its rightful owners, the heirs of the authors.16
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Post by Admin on Mar 30, 2022 22:15:15 GMT
“I tell you, if one wants to be active, one mustn’t be afraid to do something wrong sometimes, not afraid to lapse into some mistakes. To be good — many people think that they’ll achieve it by doing no harm — and that’s a lie, and you said yourself in the past that it was a lie. That leads to stagnation, to mediocrity…
You don’t know how paralyzing it is, that stare from a blank canvas that says to the painter, “You can’t do anything.” The canvas has an idiotic stare, and mesmerizes some painters so that they turn into idiots themselves. Many painters are afraid of the blank canvas, but the blank canvas is afraid of the truly passionate painter who dares — and who has once broken the spell of “You can’t.”
Life itself likewise always turns towards one an infinitely meaningless, discouraging, dispiriting blank side on which there is nothing, any more than on a blank canvas. But however meaningless and vain, however dead life appears, the man of faith, of energy, of warmth, and who knows something, doesn’t let himself be fobbed off like that. He steps in and does something…”
Vincent van Gogh
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Post by Admin on Apr 20, 2022 16:54:40 GMT
UFOS IN OUTSIDER ART rawvision.com/blogs/articles/ufos-in-outsider-artWe are now well into our first era of documented alien contact. Some maintain that extraterrestrial (ET) communication with humanity has been going on for thousands of years, if not longer, while others dispute the very existence of the phenomenon. The reality (or not) of UFOs is not the primary concern here. The focus for now is upon visionary artists and their alleged experiences with flying saucers, alien abductions and close encounters of any kind. Artists like Daniel Martin Diaz and Ken Grimes have had an abiding fascination with UFOs, while painters such as Royal Robertson and Howard Finster maintained that they had visions of flying saucers, and yet none of them claimed to have encountered ETs in real life. Not to discount Diaz’s and Grimes’s avid interest, nor to dispute the veracity of Finster’s and Robertson’s intuitive inspiration, but the following discussion is devoted to artists who profess or professed to have had actual perceived confrontations with ET events – and whose very reason for making certain works of art is a result of those confrontations. It is organised in accordance with late astronomer and UFO researcher J Allen Hynek’s initial classification of close encounters of the first, second and third kinds in his book The UFO Experience: A Scientific Inquiry (1972). Romanian native Ionel Talpazan (1955–2015) ran away from his foster home when he was just seven years old in 1963. While sleeping in a field one night, he awoke to find himself encircled by an uncanny blue light that felt like it was “from another world” (see Raw Vision 45). He later recalled the complete silence, and said, “I see things I never see before.” Talpazan subsequently determined that the light must have emanated from a flying saucer hovering above him, even though he had no memory of actually seeing it. As it was a visual sighting that took place within 500 feet (150 meters) of the source of the mysterious light, it may qualify as a close encounter of the first kind. by MICHAEL BONESTEEL
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Post by Admin on Apr 29, 2022 8:46:07 GMT
Outsider music en.wikipedia.org/wiki/Outsider_musicOutsider music (from "outsider art") is music created by self-taught or naïve musicians. The term is usually applied to musicians who have little or no traditional musical experience, who exhibit childlike qualities in their music, or who suffer from intellectual disabilities or mental illnesses. The term was popularized in the 1990s by journalist and WFMU DJ Irwin Chusid.[1] Outsider musicians often overlap with lo-fi artists, since their work is rarely captured in professional recording studios. Examples include Daniel Johnston, Wesley Willis, and Jandek, who each became the subjects of documentary films in the 2000s.[2]
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Post by Admin on May 30, 2022 11:32:46 GMT
The Colour of Madness: Mental Health and Race in Technicolour by Samara Linton (Author), Rianna Walcott (Author)
‘This book, which shares the poignant lived voices of the racialised experience, is a welcome contribution to the mission to heal and positively transform our mental health, physical health and well-being.’ - Dr Jacqui Dyer, health and social care consultant, Black Thrive Global Director
The Colour of Madness is a groundbreaking collection that amplifies the voices of people of colour and their experiences with mental health.
These are the voices of those who have been ignored. Updated for 2022, The Colour of Madness is a vital and timely tribute to all the lives that have been touched by medical inequalities and aims to disrupt the whitewashed narrative of mental health in the UK. A compelling collection of memoir, essays, poetry, short fiction and artwork, this book will bring solace to those who have shared similar experiences, and provide a powerful insight into the everyday impact of racism for those looking to further understand and combat this injustice.
Statistics show that people from Black and minority ethnic backgrounds in the UK have not only experienced inadequate mental health treatment in comparison to their white counterparts, but are also more likely to be detained under the Mental Health Act. From micro-aggressions, inherent bias, religious/cultural influences and social stigma, people of colour are consistently fighting to be heard, believed, and offered help beyond the need for ticking off diversity boxes.
The book was first published in 2018. Editors Dr Samara Linton and Rianna Walcott ended their relationship with their previous publisher in 2021 when the press was linked to a far-right group. The editors have since collaborated with a new publisher and present this revised edition complete with more contributions and powerful artwork.
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Post by Admin on Jul 3, 2022 18:37:31 GMT
The Joys of Looking at Art Outside ‘the Artworld’ artreview.com/the-joys-of-looking-at-art-outside-the-artworld/You’ll have to trust your critical faculties when nothing in the framing is telling you whether what you’re seeing is legit I’m far from the only person who does this, even at this magazine, but mea culpa – when I say ‘the artworld’, that’s code. It means something narrowly specific: the infrastructure around ostensibly serious, forward-thinking, frequently expensive art, as shown in ‘serious’ commercial and non-commercial galleries in major cities, biennales and art fairs. The phrase, which might easily be replaced by ‘the industry’ – except that won’t happen until we start calling galleries shops – is a convenient shorthand for the kind of art that, circularly, gets covered in magazines like this one. But, of course, what’s described above is not the whole ‘artworld’; and nor is the latter anything like singular, more a grouping of big fuzzy spheres that occasionally overlap, usually don’t, and often go strenuously ignored or are chanced upon only by happenstance, by breaking habits. A few months ago, for example, having taken up looking for new things in my district, I veered into a dog-walker-friendly strip of woodland next to a local park, through a gap in a chain-link fence, and onto a hitherto-unknown (by me) echt-Berlin patch of funky wasteland dotted with makeshift bars and food stands. A poster advertised a weekly video-art screening that had evidently been going on awhile. I’d never heard of any of the artists, but that’s a seemingly authentic sector of a crusty, non-glitzy ‘artworld’ – far from the first one I’ve encountered here, the others usually and naturally in outlying neighbourhoods – and it’s giving someone enjoyment, pause for thought, etc. I wouldn’t have found it in a gallery listings website, which don’t list fledgling, under-the-radar spaces – including those where the significant art of tomorrow might be developing – not to mention work that happens online. So you’ve got to find them another way; if, that is, your limited time isn’t already pledged to visiting those blue-chip venues where, not infrequently, the least newness and the most consolidation is going on, but it sure is pleasant to feel unchallenged. At the other end of the spectrum, while I might be in west Berlin trying to tick Galerie Buchholz off my list, I’ll pass galleries that purvey tasteful, still relatively expensive, often neo-modernist art: angsty bronze sculptures and washy abstracts made recently, also-rans of decades past; one step up from the watercolour landscape dealership. Someone is making aesthetic decisions about that art too, thinking about it (to some degree), buying it, or these outlets – which seem to greatly outnumber the type I do frequent – wouldn’t exist. Sometimes these worlds do merge, due not least to contemporary art’s ravening need for new inventory, plus changing tastes. Witness what happened a couple of decades ago with ‘outsider’ art. Or, to take a more recent example seemingly inspired by the blurring of hierarchies pioneered by Frieze Masters, note that the now-paunchy London galleries of the 1990s have started showing the sort of Cork Street painters they initially defined themselves against. (Everyone loves Prunella Clough now.) But mostly ‘the artworld’ is a piece of divisive, defining, this-not-that nomenclature, a portcullis that’s generally up unless there’s money in it and/or the exclusion is no longer tenable. What we call contemporary art at any given time certainly doesn’t contain all new art of worth. I know artists working outside ‘the artworld’ who are as intellectually ambitious, serious and committed as those you’d encounter inside, but either they can’t break in or choose not to try, reserving their energies for artmaking rather than networking. Circumscribing the field, meanwhile, is not only useful for gatekeeping but also because it’s a time-saver for all of ‘us’. Contemporary art as we understand it is already a bloated field in which it’s impossible to fully know what’s going on – trying to do that and regularly checking what’s outside it to see if you’ve missed something would require, it seems, living several simultaneous lifetimes. There are, nevertheless, upsides to sometimes engaging with art that’s outside your bubble, entertaining the idea that ‘the artworld’ is not always the final arbiter and certainly isn’t always ‘right’. First, you’re required to fall back on your critical faculties when nothing in the framing is telling you whether what you’re seeing is legit. Second – here comes the snob again – entertainment value. Some of this stuff is deservedly beyond the pale because it is, or at least appears to be, comically shit: derivative, histrionic, in thrall to notions of bougie tastefulness, all the above. Third, and relatedly, honing your eye. Many people have pointed out that it’s useful and salutary to look at bad cultural production to recognise, or be reminded of, what’s good about what’s good – try a student jazz band that can’t swing, say, or my guy in Prenzlauer Berg who’s long run a space called something like ‘Art of the Twenty-Fifth Century’ and happily places his fourth-rate Futurism in the ground-floor windows. If ‘the artworld’ gets you down, as it is wont to for many of us, veer off the beaten tracks if you can find a way, and the time. You may find you’re cheerier when you come back; and you just might discover something great.
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Post by Admin on Apr 11, 2023 12:38:49 GMT
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Post by Admin on Jan 15, 2024 18:12:16 GMT
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