Published in collaboration with the American Folk Art Museum. This unparalleled survey celebrates the works of one of the world’s most important collections of self-taught artists. The Hidden Art reveals for the first time an exceptional trove of contemporary and historic artworks by an exemplary roster of international self-taught artists from the collection of Audrey B. Heckler. Heckler, who has been building her extensive collection with the highest criteria of quality and rigor since the early 1990s, is celebrated for having an acute instinct for exquisite works. This volume presents exceptional examples of some of the most recognizable artists of the field, including Henry Darger, Bill Traylor, Martín Ramírez, Adolf Wölfli, Aloïse Corbaz, William Edmondson, Thornton Dial, Howard Finster, Morris Hirshfield, Nek Chand, Sam Doyle, and Achilles Rizzoli. The Hidden Art explains the breadth and significance of Heckler’s collection within the context of the field of self-taught art. A variety of exploratory texts by 32 renowned scholars discuss these artworks, providing important background information on each of the forty-eight artists. Elegant yet engaging, this comprehensive volume will be treasured by a wide audience of art lovers, artists, and artisans alike.

The Hidden Art: Twentieth and Twenty-First Century Self-Taught Artists from the Audrey B. Heckler Collection

Arts & Photography

Rousseau, Valérie

History & Criticism

Skira/Rizzoli

Art Brut in America: The Incursion of Jean Dubuffet traces the influence of Art Brut in the US through works from Dubuffet’s art brut collection. The exhibition and its accompanying catalogue are organized around two seminal art-historical moments: the display of Dubuffet’s collection at the home of artist and collector Alfonso Ossorio in the 1950s, and Dubuffet’s provocative speech “Anticultural Positions” delivered at the Arts Club of Chicago in 1951. Including both little-known and canonical works--such as drawings, annotated manuscripts, letters, paintings, embroideries and sculptures--created by 38 artists, including Aloïse Corbaz, Heinrich Anton Müller, Francis Palanc, Jeanne Tripier and Adolf Wölfli, as well as artworks by anonymous artists and children, this volume points to the influence of Art Brut on the burgeoning American style of Abstract Expressionism, as well as on individual artists and collectors.

Art Brut in America: The Incursion of Jean Dubuffet (AMERICAN FOLK A)

DUBUFFET, Jean

Shaw, Jim

Lombardi, Sarah

Minturn, Kent

American Folk Art Museum

Born into slavery around 1853-4 on a cotton plantation in Benton, Alabama, Traylor has become one of the most important self-taught artists of the twentieth century, and certainly one of the most celebrated African-American artists, along with Thorton Dial and William Edmondson. The story of Bill Traylor's life and work is a remarkable one. It is a story that deserves attention both nationally and internationally. This publication, generously illustrated with full-page high-quality reproductions, provides a close examination of Traylor's recurrent themes, composition schemes, favored iconography, and contextual information related to the artist's biography, creative process and tools, visual environment, and artistic mindset. Each artwork is considered in a context beyond that of an isolated image and in response to one another, forming a series of intricate and consistent narratives, intriguingly cinematic in its development. The elements of Traylor's biography are the anchors of an individual mythology. Instead of merely being a basic depiction, the subject becomes a visual statement structuring Traylor's mind, bringing together hidden symbols from Kongo Vodou, Hoodoo, Southern Baptist, Freemasonry, and Blues sources, as well as layers of references: slavery, uncensored violence in the Jim Crow era, and turbulence within the black enclave known as 'Dark Town' in Montgomery, Alabama. Text in English and French.

Bill Traylor

Purden, Debra

5 Continents Editions Srl

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