Rawvision

Raw Vision magazine was first published in 1989 at a time when Outsider Art was almost a clandestine, secret area of art, only just a few people around the world knew about. The first editions of Raw Vision magazine presented works that have since become world famous but which, at the time, were shown to a wide audience for the first time. The early editions of Raw Vision soon sold out and over the years became expensive and sought-after collectors' items. Features include: The Art of Entrancement: the mediumistic and spiritual in Outsider Art; Word and Image in American Folk Art: a survey of Southern folk artists; Nek Chand's Rock Garden of Chandigarh: the world's largest sculpture park and visionary environment. Autour de l'Art Brut: an exploration of Dubuffet's theories of Art Brut. The work of SPACES, the Los Angeles based conservation organisation who were instrumental in saving the famous Watts Towers. Schroder-Sonnenstern: the demented erotic vision of this German draughtsman. Haiti and the school of Saint Soleil - contemporary works form the vibrant artistic world of Haiti. Willem van Genk: powerful Dutch visionary. Gustav Mesmer: Outsider and his flying machines, a latter day lcarus. Billy Morey - creating against all the odds - how art rescued him from a cycle of crime and punishment.

My Soul Has Grown Deep considers the art-historical significance of contemporary Black artists and quilters working throughout the southeastern United States and Alabama in particular. Their paintings, drawings, mixed-media compositions, sculptures, and textiles include pieces ranging from the profoundly moving assemblages of Thornton Dial to the renowned quilts of Gee’s Bend. Nearly sixty remarkable examples—originally collected by the Souls Grown Deep Foundation and donated to The Metropolitan Museum of Art—are illustrated alongside insightful texts that situate them in the history of modernism and the context of the African American experience in the twentieth-century South. This remarkable study simultaneously considers these works on their own merits while making connections to mainstream contemporary art. Art historians Cheryl Finley, Randall R. Griffey, and Amelia Peck illuminate shared artistic practices, including the novel use of found or salvaged materials and the artists’ interest in improvisational approaches across media. Novelist and essayist Darryl Pinckney provides a thoughtful consideration of the cultural and political history of the American South, during and after the Civil Rights era. These diverse works, described and beautifully illustrated, tell the compelling stories of artists who overcame enormous obstacles to create distinctive and culturally resonant art. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

Founded in 1989, Raw Vision is the world's only international magazine on Outsider Art, folk art, and visionary art. Ignored and marginalized for many years, Outsider Art can now be seen as a vital creative force that expresses the true potentiality of human creativity. With spectacular subject matter from around the world, Raw Vision was recently awarded a prize by U.N.E.S.C.O. as the world's best art magazine of the year. Each edition contains essential reference and historical material that will be invaluable to researchers, scholars, and enthusiasts for years to come. Produced in full color, Raw Vision brings the works of little known and self-taught masters to a wide public for the first time.

Folk art is as varied as it is indicative of person and place, informed by innovation and grounded in cultural context. The variety and versatility of 300 American folk artists is captured in this collection of informative and thoroughly engaging essays. American Folk Art: A Regional Reference offers a collection of fascinating essays on the life and work of 300 individual artists. Some of the men and women profiled in these two volumes are well known, while others are important practitioners who have yet to receive the notice they merit. Because many of the artists in both categories have a clear identity with their land and culture, the work is organized by geographical region and includes an essay on each region to help make connections visible. There is also an introductory essay on U.S. folk art as a whole. Those writing about folk art to date tend to view each artist as either traditional or innovative. One of the major contributions of this work is that it demonstrates that folk artists more often exhibit both traits; they are grounded in their cultural context and creative in the way they make work their own. Such insights expand the study of folk art even as they readjust readers' understanding of who folk artists are.

Much has changed in the world of self-taught art since the millennium. Many of the recognized “masters” have died and new artists have emerged. Many galleries have closed but few new ones have opened, as artists and dealers increasingly sell through websites and social media. The growth and popularity of auction houses have altered the relationship between artists and collectors. In its third edition, this book provides updated information on artists, galleries, museums, auctions, organizations and publications for both experienced and aspiring collectors of self-taught, outsider and folk art. Gallery and museum entries are organized geographically and alphabetically by state and city.