In 1912 Paul Klee declared that the art of the mentally ill, as well as the art of children, "really should be taken far more seriously than are the collections of all our art museums if we truly intend to reform today's art." What Klee found most fascinating and instructive about the art of "outsiders"--those self-taught individuals, sometimes mentally disturbed, who create while isolated from mainstream culture--was the sincerity, depth, and power of their un-adulterated, unmediated expressions. Parallel Visions, an exhibition and catalogue organized and produced by the Los Angeles County Museum of Art, reveals the considerable influence that outsider art has had on the development of twentieth-century art. The work of such "marginalized" artists and compulsive visionaries as Antonin Artaud, Ferdinand Cheval, Henry Darger, Howard Finster, Madge Gill, Martin Ram!rez, P. M. Wentworth, Adolf Wlfli, and Joseph Yoakum is juxtaposed with the work of devotees of outsider art among modern artists. Essays by the curators of the exhibition, Maurice Tuchman and Carol S. Eliel, and by other commentators offer a history of this phenomenon as well as an exploration of issues crucial to the formation of our aesthetic and critical judgments and our notions of creativity. In addition to the curators, the contributors include Russell Bowman, Roger Cardinal, Barbara Freeman, Sander L. Gilman, Mark Gisbourne, Reinhold Heller, John M. MacGregor, Donald Preziosi, Allen Weiss, Jonathan Williams, and Sarah Wilson.

Parallel Visions: Modern Artists and Outsider Art

Arts & Photography

TUCHMAN, Maurice

Eliel, Carol S.

History & Criticism

Princeton University Press

Parallel visions: Modern artists and outsider art

In 1912 Paul Klee declared that the art of the mentally ill, as well as the art of children, "really should be taken far more seriously than are the collections of all our art museums if we truly intend to reform today's art." What Klee found most fascinating and instructive about the art of "outsiders"--those self-taught individuals, sometimes mentally disturbed, who create while isolated from mainstream culture--was the sincerity, depth, and power of their un-adulterated, unmediated expressions. Parallel Visions, an exhibition and catalogue organized and produced by the Los Angeles County Museum of Art, reveals the considerable influence that outsider art has had on the development of twentieth-century art. The work of such "marginalized" artists and compulsive visionaries as Antonin Artaud, Ferdinand Cheval, Henry Darger, Howard Finster, Madge Gill, Martin Ram!rez, P. M. Wentworth, Adolf Wlfli, and Joseph Yoakum is juxtaposed with the work of devotees of outsider art among modern artists. Essays by the curators of the exhibition, Maurice Tuchman and Carol S. Eliel, and by other commentators offer a history of this phenomenon as well as an exploration of issues crucial to the formation of our aesthetic and critical judgments and our notions of creativity. In addition to the curators, the contributors include Russell Bowman, Roger Cardinal, Barbara Freeman, Sander L. Gilman, Mark Gisbourne, Reinhold Heller, John M. MacGregor, Donald Preziosi, Allen Weiss, Jonathan Williams, and Sarah Wilson.

Book by Conkelton, Sheryl, Eliel, Carol S.

Annette Messager: A Museum of Modern Art Book

Conkelton, Sheryl

Collections, Catalogs & Exhibitions

Harry N.Abrams, Inc.

The companion volume to an exhibition at the Los Angeles County Museum of Art examines more than seventy-five paintings and other artworks, representing the Purist movement in twentieth-century modernist art, featuring the works of Le Corbusier, AmTdTe Ozenfant, and Fernand LTger as well as a complete translation of the classic work AprFs le cubisme.

L'Esprit Nouveau: Purism in Paris 1918-1925

Ducros, Francoise

Harry N. Abrams

Degas to Picasso: Modern masters from the Smooke Collection

Los Angeles County Museum of Art

In 1912 Paul Klee declared that the art of the mentally ill, as well as the art of children, "really should be taken far more seriously than are the collections of all our art museums if we truly intend to reform today's art". What Klee found most fascinating and instructive about the art of "outsiders" - those self-taught individuals, sometimes mentally disturbed, who create while isolated from mainstream culture - was the sincerity, depth and power of their unadulterated, unmediated expressions. "Parallel Visions", an exhibition and catalogue organized and produced by the Los Angeles County Museum of Art, reveals the considerable influence that outsider art has had on the development of 21-century art. The work of such "marginalized" artists and compulsive visionaries as Antonin Artaud, Ferdinand Cheval, Henry Darger, Howard Finster, Madge Gill, Martin Ramirez, P.M. Wentworth, Adolf Wolfli, and Joseph Yoakum is juxtaposed with the work of devotees of outsider art among modern artists. Essays by the curators of the exhibition and other commentators offer a history of this phenomenon as well as an exploration of issues crucial to the formation of our aesthetic and critical judgements and our notions of creativity.

Los Angeles County Museum

Mariko Mori

Japanese multimedia artist Mariko Mori (b. 1967) combines popular culture, science fiction, and Far Eastern spirituality with an exploration of self-image in her internationally acclaimed work. Designed by Groovisions and art-directed by Simon Browning, this beautiful book presents a comprehensive overview of Mori's art and the inspiration behind it, including her highly successful interactive installations Oneness and Wave UFO. Covering all of the artist's work since she began her career in the 1990s, the book follows each project from inspiration and background visual references through a complete visual representation of the finished piece. Captions by Mori give readers a fuller understanding of her popular art. AUTHOR BIO: Mariko Mori was born in Tokyo and studied at the Chelsea College of Art, London. She has had solo exhibitions and installations at museums and arts institutions around the world.

Molon, Dominic

Mori, Mariko

Corrin, Lisa

King, Marjorie

Museum of Contemporary Art

This intriguing new look at the work of David Smith reveals how art and personal history shaped the work of one of America s foremost artists. Heralded as one of the greatest American sculptors of the twentieth century, David Smith nonetheless identified himself as a member of the working class. A contemporary of Gorky, de Kooning, and Pollock in the Germany art world, Smith worked as a welder before and during World War II and retained his union membership thereafter. How Smith meshed these two disparate worlds is the subject of this unique examination that focuses specifically on the geometric features of Smith's work, including his renowned Cubi series. Published in conjunction with an exhibition at the Los Angeles County Museum of Art, the book considers geometry in Smith's sculpture as both a formal and thematic construct. Essays by leading curators and scholars explore the relationship between Smith's lifelong interest in the utopian optimism of the avant-garde and his own artistic identity. The book includes illustrations of more than fifty sculptures, along with drawings, paintings, and vintage photographs by the artist.

David Smith: Cubes and Anarchy

Reference

Prestel

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Books by Eliel, Carol S.