Toying with blob-like shapes and the illusion of depth, the Austrian self-taught artist Leopold Strobl packs mystery and expressive power into small-scale drawing-collages.
Scrivere Disegnando is an exhibition of more than 300 works produced by 93 artists whose subject is imaginary language.
In Atlanta, the pride-affirming work of the African American self-taught artist Charles Williams comes into focus in a new, well-researched exhibition.
With a broader, more international scope, this year’s gathering will offer fresh discoveries at every turn.
The American researcher Jo Farb Hernández has led the charge to preserve fast-deteriorating, self-taught artists’ environments — before they’re gone.
As outsider art goes, you can’t get much further outside than Thunder Mountain Monument, built by Chief Rolling Mountain Thunder over many years, starting in 1969.
The Bethlem Museum of the Mind’s latest exhibition Brilliant Visions: Mescaline, Art and Psychiatry plunges into the murky world of psychosis and psychedelics.
Bernard Gilardi’s exhibition suggests a positive grouping of misfits, a hopeful interpretation of the ambiguity within Gilardi’s paintings as a sanctuary for the odd.
Curator Nobumasa Kushino raises questions about how and to what extent items and actions not originally intended to be art can be rendered such, and whether they should be.
There is this sense, in looking at Hawkins’s bold and humorous paintings, of returning to something one has always known.
The exhibition features some compelling artwork, but it falls into the same traps and stereotypes that have plagued many museum exhibitions featuring outlier artists (if that’s what we’re supposed to call them now).
The most powerful outsider artworks in Outliers and American Vanguard Art at the National Gallery of Art evoke ideals about all artists: the belief, for example, that they are distinct from non-artists.