“Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of “taste,” one in which each expression is acknowledged as being different while deserving equal merit.
Arguing that both the “art world” and “wild art” have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of “taste” in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of “wild art” in the present will radically transform our understanding of contemporary visual art in the future.
Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of “kitsch” and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.

Aesthetics of the Margins / The Margins of Aesthetics: Wild Art Explained

Arts & Photography

Carrier, David

PISSARRO, Joachim

History & Criticism

Penn State University Press

Camille Pissarro is perhaps best known for the landscape paintings of his early career, yet in the final decade of his life (1893-1903) he began to depict urban scenes and his paintings from this period, of Paris, Rouen and the busy ports of Dieppe and Le Havre formed an important component of his artistic output. At this time Pissarro, like Monet, started to work on canvases in series, ofthen pointing several simultaneously and discarding one temporarily when the light, the weather or his mood altered. He started all of them at the scene and worked with extraordinary speed and deftness. In this book, the authors set Pissarro's cityscapes in their broad art-historical context, looking also at contemporary treatments of the urban scene by Vuillard, Bonnard and Toulouse-Lautrec. Using Pissarro's extensive correspondence from this period, they reveal the artist's own attitude towards his final works. The book includes a catatogue of Pissarro's urban series, each one introduced by an overview covering the history of the cityscape pictured and the production, exhibition history and early critical reception of the series. This book is the catalogue for an exhibition of Pissarro's cityscape paintings at the Dallas Museum of Art (November 15, 1992 - January 31, 1993). The exhibition will then be shown at the Philadelphia Museum of Art from March 7 to June 6, 1993 and at the Royal Academy in London from July 2 to October 10, 1993.

The Impressionist and the City: Pissarro's Series Paintings

Brettell, Dr. Richard R.

Yale University Press

[Pissarro, Camille]. Stevens, Mary Anne [ed]. The Impressionist and the City - Pissarro's Series Paintings. London, Royal Academy of Arts, 1993. 24.5 cm x 27.5 cm. LIII, 234 pages. Original Softcover. Excellent condition with only very minor signs of external wear. Includes for example the following essays: Camille Pissarro - A Brief Chronology, Camille Pissarro and Urban View Painting, Pissaro's Series - Conception, Realisation, and Interpretation. Catalogue features works from Rouen, Paris - The Avenue de l'Opera, Paris - The Pont-Neuf, Paris - Quai Voltaire, Dieppe - The Harbours, and Le Havre. Illustrated throughout, with artist's paintings in colour production.

The Impressionist and the City: Pissarro`s Series

Monet's series of paintings of the Rouen Cathedral, thirty-three works in all, under various natural conditions are collected together for the first time

Monet's Cathedral

Individual Artists

KNOPF

This book presents a comparative study of two pairs of collaborative artists who worked closely with one another. The first pair, Cézanne and Pissarro, contributed to the emergence of modern art. The second pair, Johns and Rauschenberg, contributed to the demise of modern art. In each case, the two artists entered into a rich and challenging artistic exchange and reaped enormous benefits from this interaction. Joachim Pissarro's comparative study suggests that these interactive dialogues were of great significance for each artist as well.

Cézanne/Pissarro, Johns/Rauschenberg: Comparative Studies on Intersubjectivity in Modern Art

Cambridge University Press

Wild Art is an incredibly brash and current collection of over 300 extraordinary artworks that are too offbeat, outrageous, kitschy, quirky, or funky for the formal art world. From pimped cars, graffiti, flash mobs, and burlesque acts, to extreme body art, ice sculpture, light shows, and carnivals, the works featured here are variously moving, funny, or shocking - and guaranteed to elicit a reaction. Authors David Carrier and Joachim Pissarro have studied alternative and underground art cultures for years. Here, they've compiled the ultimate collection of creative works that celebrate the beauty and art in anything and everything, challenging the reader's perception of what is and what isn't art.

Wild Art

Phaidon Press

In this fully illustrated work, the great-grandson of Camille Pissarro illuminates the process of painting as Pissarro engaged in it, describes his work on innovative projects with Degas and Ce+a7zanne, and chronicles the events of his life.

Camille Pissarro

Biographies & Memoirs

Harry N.Abrams, Inc.

Camille Pissarro (1830-1903) was the only member of the Impressionist group to exhibit in all eight of their exhibitions held in Paris between 1874 and 1886. He drafted the Impressionist convention and was the principal organizer of the first exhibition held in 1874. He was a bold and restless experimenter throughout his career, working in a variety of mediums and techniques, including painting, drawing, and printmaking. Pissarro was also regarded as an astute judge of young talent. Cézanne and Gauguin both acknowledged their profound debt to him, and Seurat, Signac and Matisse also benefited from Pissarro's generous encouragement and advice at the start of their careers. This beautiful book is the first to examine closely Pissarro€™s innovative role in the Impressionist movement and his novel approach to pictorial composition. With 150 stunning color illustrations of many of Pissarro€™s greatest works, this comprehensive and accessible book includes five

Camille Pissarro (Rizzoli Art Classics)

Rizzoli

Monet and the Mediterranean

An exhibition catalog shows paintings Claude Monet did during three trips to the Mediterranean region, including Antibes, Monte Carlo, and Venice

Monet And The Mediterranean

This stunning two-volume set evokes the differences, as well as the affinities, between the works of groundbreaking artists Yves Klein and Alberto Giacometti. Volume one of this beautiful new book features archival images of both artists among new texts by curator Joachim Pissarro and others, as well as never- before-translated texts by Isaku Yanaihara, Dino Buzzati, and Pierre Descargues. Detailed illustrated chronologies for each artist complete volume one, while the colorful second volume includes color plates of all the works displayed during Gagosian Gallery’s 2016 London exhibition of the same title, as well as installation images.

Alberto Giacometti, Yves Klein: In Search of the Absolute

Gagosian / Rizzoli

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Books by PISSARRO, Joachim