QUESTIONS?
- How are the identities and production methods of Outsider Artists fetishised
- (In the West)
- (and how does that...
- affect their wellbeing?)
INTRO POINTS TO MAKE:
- Define Outsider Art, how it is different to Folk Art etc
- Why is it important to discuss this? This can tie in with that *personal admission of bias/ my opinion*
- my own opinion/ bias is: I'm invested in the idea that artists should be treated in an ethical manner (especially when in vulnerable positions) though I do not see that as a particularly radical viewpoint (!!!)
- Methodology
- why I chose to examine certain artists
- Finster: popular, lots of sources, lots of criticism and reviews
- etc
MAIN CHAPTER POINTS TO MAKE:
- HISTORIAL CONTEXT: when was Outsider Art defined? At what point did the concept of insider/ outsider of Art become a thing? Can briefly mention the Degenerate Exhibitions etc. How Outsider Art is a derogatory category, in a short way
- FETISHISING IDENTITY: identity becomes the focal point of how people talk about Outsider Art
- PRESUMPTIONS OF ARTISTIC INTENTION: following the identity, critics may assume things about the art due to the context of the artist
- FETISHISING METHODS: the fetishisation of AUTHENTICITY, and how the art world looks jealousy on to those who work with only *selfish* motivations, and how they try to recreate this
- INTUITIVE EXPRESSION: how Outsider Artists work on only their own accounts, without an education
CASE STUDIES: (do these have to be particular art pieces or can they be studies of artist's practices in general?)
- HOWARD FINSTER: popular artist with lots of words written about him but also interviews with him personally!
- he did not define himself as an outsider artist
- how becoming popular affects audience perception of him
- was he overworked? did he feel pressure from becoming famous to work in such a way?
- is there any real evidence his later pieces weren't his?
- his relationship to the community and public misperceptions
- BEVERLAND:
- not that much information about him in critical studies except for by ####... how his disabilities were "used as marketing tools" (not stating I agree with this)
- there is still a social media presence for him, and can look at the materials used to promote his work, how language is used etc
- more?
- GRANDMA PRISBREY? obsession, intentions as mentioned by Wocjik.
REFLECTING ON MY OWN PRACTICE:
- how it is to draw the same thing every day - how that feeling of obsession is not quite the same when enforced by rules / how it can be encouraged
- how it is responded to by other people
- a gallery proposal
CONCLUSION:
- ????????????
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