Curiously, Dubuffet’s anti-hierarchical approach to art did not translate to similar views on society.
In Vienna, a new exhibition showcases the ideas and accomplishments of self-taught female artists.
Who would have thought that Dubuffet’s “art brut” style would eventually find an affinity with the gritty, unconventional large-scale paintings Poons made three decades later?
HAMTRAMCK, Mich. — Outsider artists walk a fine line between being perceived as inspired or insane.
What if canonical art history had been written not by academics but by art’s makers themselves? Who would have been included in such a history, and who would have been left out?
CHICAGO — Artist Audrey Ushenko literally makes public art.
Over the past decade, Melissa Meyer, rightfully characterized by David Cohen “as virtually without a peer as a lyrical abstractionist,” moved from the lyrical to the disjunctive.
When I first became of aware of the work of Alfonso Ossorio, it was through his off-the-wall (no pun intended) assemblages from the 1960s. Though they’re extremely approachable, these works can also make one feel uneasy; they vibrate with the sort of psychedelic energy that marks that decade.
BRIGHTON, U.K. — Perhaps it is little wonder the last time Jean Dubuffet was reviewed in a public gallery in the United Kingdom, the year was 1966 and the decade was swinging. The French painter’s love of raw creativity was of a piece with the social revolutions taking place. His invention of Art Brut was perhaps the rough, raw yin to Pop art’s glossy yang.