The gift deepens the museum’s holdings of Black and Latinx artists from the US, Caribbean, and beyond.
Outsider Art
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Monumental Art No Bigger Than a Postcard
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.
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When Writing Has No Meaning
Scrivere Disegnando is an exhibition of more than 300 works produced by 93 artists whose subject is imaginary language.
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A Soaring Visionary of Afrofuturism and Black Power
In Atlanta, the pride-affirming work of the African American self-taught artist Charles Williams comes into focus in a new, well-researched exhibition.
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Keeping it Odd — and Real — at the 2020 Outsider Art Fair
With a broader, more international scope, this year’s gathering will offer fresh discoveries at every turn.
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Rescuing Art Sites on the Endangered List
The American researcher Jo Farb Hernández has led the charge to preserve fast-deteriorating, self-taught artists’ environments — before they’re gone.
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An Uncanny Mountain Monument Is the Focus of an Outsider Artist for Half a Century
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.
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How Psychiatry and Hallucinogenic Drugs Meet in Painting
The Bethlem Museum of the Mind’s latest exhibition Brilliant Visions: Mescaline, Art and Psychiatry plunges into the murky world of psychosis and psychedelics.
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The Disturbing Yet Hopeful Paintings of an Outsider Artist
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.
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If It Wasn’t Made as Art, Can a Curator Make It Art?
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.
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Looking Back on William Hawkins, the Outsider Artist Who Became Wildly Popular in His 80s
There is this sense, in looking at Hawkins’s bold and humorous paintings, of returning to something one has always known.
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The Insider’s Guide to Outsider Art
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).