COP3: subjects, themes, and corresponding writers/ essays/ theories/ institutions & case studies:

***  = not researched yet

Defining Outsider Art:

·      Simone Alter Muri p.40 (that some art resembles expressionism but is not)

·      Donald Kuspit p.135 no stylistic credibility

·      Dyani Reynolds-White Hawk p.47 p.49

Folk vs Outsider Art:

·      ***Borum (1993/1994)

·      ***Lippard (????)

·      ***Parsons (????)

·      Simone Alter Muri P.38

·      Gary Alan Fine p.158 Michael Hall talked about folk art being a fictive construct we use to learn about our society rather than the art

·      ***Michael Hall (????)

Outsider Art is a derogatory category:

·      Hugh Nichols it is an outdated method for framing non-normative art, relevant to art history but not current practice. Describes outsider art as “ghettoising” artists

·      Daniel Wojcik P.179 artist as other

·      Finster does not refer to himself as an outsider artist in interviews though does not express concern that it is necessarily a bad thing

·      Dyani Reynolds-White Hawk p.56 artists do not refer to themselves as outsiders, it is put upon them (consensually or not), they are not expected to communicate with other artists as part of this identity and I think that is isolating

Challenging art world hierarchies:

·      Simone Alter Muri P.38 (links to postermodernism, encouraging participation of minorities in the art world)

·      Gary Alan Fine P.160

·      Norman Girardot and Ricardo Viera Finster does not distinguish outsider artists from “””normal””” artists

The art world is inaccessible:

·      Hugh Nichols outsider artists lack the education to properly address theory, and so feel disqualified from the art world. They do not discuss their work with other artists, and often their physical location hinders them (suburban)

·      Gary Alan Fine outsider artists are not seen as contemporaries P.156

Identity overpowering artistic merits + achievements: (similar to below)

·      Roland Barthes Death of the Author

·      Hugh Nichols artists are marketed and promoted by their identity

·      Gary Alan Fine basically all of that essay, p.158 Michael Ames talked about folk art being a fictive construct we use to learn about our society rather than the art. P.172 Chuck Rosenak mentioned the “legend of the artist”

·      ****Michael Hall (????)

·      Donald Kuspit p.134 “injured art” p.136/7 fetishisation of autheniticity

·      Blandy and Congdon suggestion that Finster’s later paintings are not his? Does this tie into his identity, as long as they identify as a Finster does it matter?

·      Dyani Reynolds-White Hawk biography of individual p.53

Presumptions of artist intentions: (similar to above)

·      Roland Barthes Death of the Author

·      Hugh Nichols artists are seen as practicing in a psychological or health framework- art is seen as a method rather than a cultural form

·      Daniel Wojcik P.180 no focus on formal qualities of their art, romanticisation of eccentricity. They are depicted as “idiosyncratic fanatics” and their culture and religious beliefs are ignored. P.187 many artists are responding to crisis. Individual’s suffering and response to this is contextualised P.187) how artists use their suffering to create art / use art to help with their suffering P.194, how they are dehumanised for this P.194

·      Prisbey as mentioned in Daniel Wojcik

·      Talzapan as mentioned in Daniel Wojcik

Ethics of supported studios/ art agents/ art galleries:

·      Supported Studios Network

·      ARTHOUSE Meath

·      Hugh Nichols artists are marketed by their studios. Supported studios should be there to support artists who may struggle to integrate with the art world.

·      Norman Girardot and Ricardo Viera Finster is “chronically overworked”

Sincerity and “art world jealousy”/ fetishisation:

·      Hugh Nichols Outsider artists are fetishized supported artists

·      Gary Alan Fine fetishizing authenticity p.154, 155, P.165 note of dealer Lois Zetter about how great it is, because it divides. P.166 about Finster when he got famous

·      Donald Kuspit whole essay on appropriation of “marginal arts”. Fetishisation of authenticity P.136/7

·      Dyani Reynolds-White Hawk p.50-51 american middle class return to culture (so not so much the art world but the buyers and viewers)

Obsession and impulse of making:

·      Simone Alter Muri P.37 briefly alludes to this, and refers to Thevoz 1976. P.38. P.40, the emphasis is placed on process rather than the product

·      ***Thevoz (1973)

·      ***Hemphill and Weissman: Twentieth Century Folk Art and Artists

·      Norman Girardot and Ricardo Viera Finster is overworked and has made 25000 paintings. How he feels driven by God to paint

·      Liza Kirwin how Finster felt driven to compulsively work

·      Daniel Wojcik how artists often feel compulsed by trances and religious experiences P.180

(?) Case studies:

Howard Finster:

·      Gary Alan Fine P.166 about how people valued him less when he got famous and things became a routine

·      Donald Kuspit doesn’t explicitly mention Finster but has theory about that kind of process Fine mentioned P.134

·      Norman Girardot and Ricardo Viera interview with Finster. Finster does not distinguish outsider to professionals, is “chronically overworked”

·      Blandy and Congdon suggestion that Finster’s later paintings are not his? Does this tie into his identity, as long as they identify as a Finster does it matter?

·      Liza Kirwin recollection of Finster’s life, how he felt driven to compulsively work

·      Daniel Wojcik P.182 Finster’s relationship to the community (how he wasn’t just a disconneceted outsider p.182)

·      

Robyn Beverland:

·      Gary Alan Fine how his identity as a disabled man was used to sell his work

·      Could back up with text analysis about identity overcoming art, and link this to how his work was and still is marketed (can find that stuff online, his social media presence in death etc). Roland Barthes