What happens when an artist who spends all of his life as an outsider is absorbed into the commercial art system? by Oliver Basciano (2013)
- Article doesn’t really reflect on Outsider Art as expected, and I’m not sure if Artur Barrio is even considered as an outsider in the way that I had been looking at. Regardless, his identity as an outsider, in some way, had an influence on his work.
- The article doesn’t really explain what really changed for him when taken into a commercial art setting.
- Artists take on marginal art because it gives them a fresh feel but also distinguishes them from the decadent. To make them relatable? (P.132)
- Cubism and Expressionism are except to this idea because they looked at marginal art before it was popular (P.132) (paraphrased)
- To put it in fun terms, marginal art is the “manic pixie dream girl” of the galleries. Fine art uses it to survive but marginal or outsider art works on its own terms and does not rely on it. It is not an institution that needs to be constantly challenging itself. (P.134)
- Marginal artists that go to the rewards of the mainstream may damage their work in the process, and lose that popularity as such. (P.134)
- On P.135 he talks about how the concept of the artist interferes with how it is perceived
- “marginal art exists in an underground limbo, for it has no stylistic credibility” [but post-modernist artists do not necessarily have a coherent stylistic identity either] p.135
- [describes marginal art as the “ultimate novelty” of post-modernism] P.136
Howard Finster by Norman Girardot and Ricardo Viera (1994)
- Finster does not personally care for labels, he doesn’t describe it as limiting but does appear to suggest that it does make for some inequality. (P.48)
- He describes the difficulty of being so prolific with age, I wonder if he faced outside pressures (rather than from his relationship with God) to make so many paintings. At the time of this interview he was almost up to 25000 paintings. (P.50)
Approaching the Real and the Fake: Living Life in the Fifth World by Kristin G Congdon and Doug Blandy (2001)
- The author suggests that Finster’s later paintings were not his, but only mentions this notion as made by unnamed “critics”. The essay discusses the value of fakes, were Finster’s supposed fakes valuable? Does this have anything to do with his identity as an outsider artist? P.268
The Reverend Howard Finster: The Last Red Light Before The Apocalypse by Liza Kirwin (2002)
- There isn’t much here about Finster’s practice, but speaks of him as full of energy and as a visionary- the impulse and the intuitiveness of his painting.
Outsider Art, Vernacular Traditions Trauma and Creativity by Daniel Wojcik (2008)
- The point of this essay is to write about outsider artists in a different context to how they are usually examined, to look at them as artists rather than their personal lives overcoming the perception of their art.
- Also believes that labelling as Outsider is detrimental to the artist/ perception of the art
- It’s not just the label, but how people go on to write about their personal lives than the art itself
- He does examine some artists by way of their lives, but hopes and does so in a non-exploitative way.
- To paraphrase, by studying outsider artists we examine the universality of the creative impulse.
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