CHAPTER ONE: INTRODUCTION
è BRIEF INTRO: small definition of Outsider Art, and the divide of this
and folk art, art brut etc. Could briefly discuss the divide of Insider/
Outsider?
è WHY THIS TOPIC SHOULD BE DISCUSSED: art is for everyone, and everyone
should be treated fairly. Discussion of identity, authenticity.
è METHODOLOGY: reading from journals, documentary, exhibition visits,
interview. Discuss my practical work/ reflection in this?
è PERSONAL BIAS: writing as someone who has is in formal art education and
could not experience what Outsider Artists experience. Writing as someone
concerned with the ethics of how O.A. is treated / the division of it but very
much enthralled by Outsider Art in the same way the galleries may also be- the
lure of authenticity is inescapable, but is it the (idea of the) authentic that
makes it good or is it good because it is truly authentic?
CHAPTER THREE: CASE STUDIES
è HOWARD FINSTER:
o
One of the most well
known outsider artists
o
What drove him to
work in such ways, to such scale etc (God)
o
How he became famous
through commercial commissions
§ How this affected
how people saw him
§ How this affected
how he worked (if it all)
§ Was he co-erced into
working so hard/ in this way?
§ Did he enjoy the
fame?
·
How when he became a
personality people didn’t like it, people are keen for them to be humble. BUT
he enjoyed the fame because it meant he could spread his preaching further
è ROBYN BEVERLAND
o
Fine discusses him
in Crafting Authenticity, about how his story was used as a tool to market his
art that may have otherwise not be touched by dealers
o
Religion as artistic
motivator and identity marker (similar to Finster) (is this most appreciated by
american markets?)
o
Humbleness as
identity and authenticity
o
How Robyn continues
to be marketed today
è CHOMO/ ROGER
CHOMEUAX
o
Was once part of the
arts scene but denied it to become, essentially a recluse. He became the
Outside because he felt this would be the best way to create work
authentically.
o
But he did create
something of an identity for himself, and was specific to who could interview
him so he could maintain this
CHAPTER FOUR: REFLECTIVE PRACTICE
è Project not yet
completed, but potential discussion points:
o
Is it really
possible to create work obsessively if it is made with a goal driving it?
o
If the project does
not receive any attention on social media does that really matter? Can it be
taken into account as a marker of how lack of identity can affect
perception and distribution of art work? I.e. I gave this artist a distinct
identity, would people be more interested?
o
In proposing an
exhibition, how will playing the role of both artist and promoter affect the
project?
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