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Raised in West Virginia, self-taught artist Carolyn Norris (b. 1948) moved as a young woman of twenty-one to Cleveland, Mississippi, a quintessential Delta railroad town on the famous blues Highway 61. To create one of her first paintings, she tore the wooden back off a dresser to use as a canvas. She painted with available house paint and completed the painting with face makeup. Thus began the realization of a passionate need to paint. Eventually, Norris came to serve as the visual griot of Cleveland. She has used a variety of media, painting on canvas, wood, paper, cardboard, glass, plates,

Outsider art --- Artists --- Norris, Carolyn, --- Criticism and interpretation.

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Throughout the history of European modernism, philosophers and artists have been fascinated by madness. Something different happened in Brazil, however, with the "art of the insane" that flourished within the modernist movements there. From the 1920s to the 1960s, the direction and creation of art by the mentally ill was actively encouraged by prominent figures in both medicine and art criticism, which led to a much wider appreciation among the curators of major institutions of modern art in Brazil, where pieces are included in important exhibitions and collections. Kaira M. Cabañas shows that at the center of this advocacy stood such significant proponents as psychiatrists Osório César and Nise da Silveira, who championed treatments that included painting and drawing studios; and the art critic Mário Pedrosa, who penned Gestaltist theses on aesthetic response. Cabañas examines the lasting influence of this unique era of Brazilian modernism, and how the afterlife of this "outsider art" continues to raise important questions. How do we respect the experiences of the mad as their work is viewed through the lens of global art? Why is this art reappearing now that definitions of global contemporary art are being contested? Learning from Madness offers an invigorating series of case studies that track the parallels between psychiatric patients' work in Western Europe and its reception by influential artists there, to an analogous but altogether distinct situation in Brazil.

Art and mental illness --- Outsider art --- Art --- Brazilian modernism. --- Mário Pedrosa. --- art and madness. --- art of the insane. --- creative care. --- global contemporary art. --- global modernism. --- outsider art. --- patient-artists. --- psychiatric art.

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" The story of the American Quilt Trail, featuring the colorful patterns of quilt squares writ large on barns throughout North America, is the story of one of the fastest-growing grassroots public arts movements in the United States and Canada. In Barn Quilts and the American Quilt Trail Movement Suzi Parron travels through twenty-nine states and two Canadian provinces to visit the people and places that have put this movement on America's tourist and folk art map. Through dozens of interviews with barn artists, committee members, and barn owners Parron documents a journey that began in 2001 with the founder of the movement, Donna Sue Groves. Groves's desire to honor her mother with a quilt square painted on their barn became a group effort that eventually grew into a county-wide project. Today, registered quilt squares form a long imaginary clothesline, appearing on more than three thousand barns scattered along one hundred driving trails. With more than fifty full-color photographs, Parron documents a movement that combines rural economic development with an American folk art phenomenon. "--

TRAVEL / Road Travel. --- ART / Folk & Outsider Art. --- Culture and tourism --- Barn quilts --- Barns --- Ethnotourism --- Tourism and culture --- Tourism --- Farm buildings --- Outdoor art --- Themes, motives.

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Verborgen Werelden brengt een overzicht van de belangrijkste kunstenaars, thema's en genres binnen de outsiderkunst. Outsiderkunst is geen artistieke stroming maar een overkoepelende benaming voor kunst gemaakt in de marge. Dit werk is spontaan en authentiek, direct en krachtig en houdt weinig rekening met modes en traditie. De kwaliteit van deze kunst wordt vandaag erkend en is aanleiding tot debat in de kunstwereld. Aan de hand van honderden werken afkomstig uit de collecties die te zien zijn in het Museum Dr. Guislain, gaan de auteurs in dit boek op zoek naar indelingen, thema's, motieven en stijlkenmerken. Een internationaal redactieteam bespreekt het werk van belangrijke outsiderkunstenaars als Willem van Genk, Nek Chand en Oswald Tschirtner.

Art brut --- Art --- Artists with mental disabilities --- Outsider art --- Museum Dr. Guislain --- Museum Dr. Guislain (Gent) --- verzameling Stichting Collectie de Stadshof --- verzameling Stichting Willem van Genk --- waanzin --- outsiderkunst --- psychologie --- Guislain, Joseph (dr.) --- Lankveld, Gerard van --- Manca, Bonaria --- Tschirtner, Oswald --- Garber, Johann --- Glastra, Siebe Wiemer --- Brutalist --- Psychiatry --- outsider art --- Dr --- Themes, motives --- Catalogs --- Art and mental illness --- Kunst --- 7.077 --- beeldhouwkunst --- kunst --- kunst en waanzin --- Patrick Allegaert, Annemie Cailliau, Frederik De Preester et al --- psychopathologische kunst --- schilderkunst --- tekenkunst --- twintigste eeuw --- (069) --- 7.041 --- Kunst en psychiatrie --- Kunst en schizofrenie --- Kunst en waanzin --- Kunst ; van excentriekelingen ; van autodidacten ; van geesteszieken --- Outsider Art --- Outsider Art ; in confrontatie met actuele kunst --- Tentoonstellingscatalogi ; Gent ; Museum Dr. Guislain --- Naive art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Artists, Mentally handicapped --- Mentally handicapped artists --- Artists with disabilities --- People with mental disabilities --- Brut, Art --- Psychiatric art --- Psychotic art --- Raw art --- (Musea. Collecties) --- Iconografie ; de mens, portretten --- Museum Dokter Guislain --- Museum Doctor Guislain --- Musée Dr. Guislain --- Dr. Guislain Museum --- Exhibitions --- 073607.jpg --- Art Brut --- Outsiderkunst --- Museum Dokter Guislain (Gent) --- Psychiatrie --- Geschiedenis --- Geneeskunde --- Techniek (wetenschap) --- Atlas --- Museum --- emotionele ziektes, waanzin, krankzinnigheid --- Art, Primitive --- 700 --- kunst 20ste eeuw --- psychiatrie --- Gent musea --- kunst algemeen --- art généralités --- Museum Dr Guislain (Gent). --- verzameling Stichting Collectie de Stadshof. --- verzameling Stichting Willem van Genk. --- emotionele ziektes, waanzin, krankzinnigheid. --- outsiderkunst. --- psychologie. --- Guislain, Joseph (dr.). --- Lankveld, Gerard van. --- Manca, Bonaria. --- Tschirtner, Oswald. --- Garber, Johann. --- Glastra, Siebe Wiemer.

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The extraordinary Watts Towers were created over the course of three decades by a determined, single-minded artist, Sabato Rodia, a highly remarkable Italian immigrant laborer who wanted to do “something big.” Now a National Historic Landmark and internationally renowned destination, the Watts Towers in Los Angeles are both a personal artistic expression and a collective symbol of Nuestro Pueblo—Our Town/Our People. Featuring fresh and innovative examinations that mine deeper and broader than ever before, Sabato Rodia’s Towers in Watts is a much anticipated revisitation of the man and his towers.In 1919, Sabato Rodia purchased a triangular plot of land in a multiethnic, working-class, semi-rural district. He set to work on an unusual building project in his own yard. By night, Rodia dreamed and excogitated, and by day he built. He experimented with form, color, texture, cement mixtures, and construction techniques. He built, tore down, and re-built. As an artist completely possessed by his work, he was often derided as an incomprehensible crazy man.Providing a multifaceted, holistic understanding of Rodia, the towers, and the cultural/social/physical environment within which the towers and their maker can be understood, Sabato Rodia’s Towers in Watts compiles essays from twenty authors, offering perspectives from the arts, the communities involved in the preservation and interpretation of the towers, and the academy. Most of the contributions originated at two interdisciplinary conferences held in Los Angeles and in Italy: “Art & Migration: Sabato Rodia’s Towers in Watts, Los Angeles” and “The Watts Towers Common Ground Initiative: Art, Migrations, Development.”The Watts Towers are wondrous objects of art and architecture as well as the expression and embodiment of the resolve of a singular artistic genius to do something great. But they also recount the heroic civic efforts (art and social action) to save them, both of which continue to this day to evoke awe and inspiration. Sabato Rodia’s Towers in Watts presents a well-rounded tribute to one man’s tenacious labor of love.A portion of royalties from this book will go to support the work of the Watts Towers Arts Center.

Cultural property --- Simon Rodia's Towers (Los Angeles, Calif.) --- Protection --- Los Angeles (Calif.) --- Watts (Los Angeles, Calif.) --- Buildings, structures, etc. --- African American. --- Italian American. --- Sam/Simon Rodia. --- Watts Towers. --- common ground. --- development. --- folk art. --- migration. --- outsider art. --- urban monuments. --- Rodia, Simon, --- Criticism and interpretation.