Houston Art Car Parade, TXDeadline to enter February 15, 2018 Have an art car? Want to build an art car? Got a great idea for a group project? Entries are now being accepted for the 2018 Houston Art Car Parade Weekend, taking place April 12–15, 2018. The Houston Art Car Parade is one of the largest free public events in Houston all year – an amazing opportunity to express your creativity in front of hundreds of thousands of cheering fans! For more information about entering into the 2018 Houston Art Car Parade including fees, rules, regulations, and more visit artcarentry.com. Deadline for entry is February 15, 2018 For additional information about the Houston Art Car Parade Weekend and all of the associated events visit thehoustonartcarparade.com. Collection de l'Art Brut, LausanneFebruary 9 – June 17, 2018 As the first presentation of the works in a museum, the exhibition "Ernst Kolb" features a collection of works from the Collection de l’Art Brut, as well as pieces generously loaned by a private collector. Drawn with a ballpoint pen on small format paper, most of Kolb's pictures represent characters or scenes of everyday life. Portraits and fantastic figures contort as if to fill the page to the fullest. The light and decisive movement that courses through the twisted bodies as well as the sharp, precise and energetic strokes are distinctive features of Ernst Kolb’s compositions. Collection de l'Art Brut Galerie Dettinger-Mayer, Lyonuntil February 24, 2018 Galerie Dettinger-Mayer presents drawings by Danielle Stéphane in "Divas Divines". Galerie Dettinger-Mayer
EOA Conference, UKFrom May 4–6, 2018, Outside In is hosting the European Outsider Art Association Conference at Pallant House Gallery, Chichester. This year’s conference focuses on the Artist’s Voice, celebrating the work of excluded and non-traditional artists and sharing best practice in the field through a series of presentations, key note speeches, and workshops delivered by artists and practitioners. The key note speech to open the conference on the Friday evening will be given by multi-disciplinary artist Bobby Baker, who created the touring exhibition "Diary Drawings: Mental Illness and Me 1997 – 2008", and was commissioned as part of the London 2012 Unlimited project for the Cultural Olympiad. Presenters at the conference include the Living Museum (the Netherlands), Out by Art (Sweden), Venture Arts (UK), Joy of Sound (UK), and Look Kloser (UK). Panel discussions will focus on supporting the artist’s voice and exhibiting the artist’s voice, and panellists will include Garvald Artists (Scotland), Headway East London (UK), Arts Project Australia (Australia), Blue Circus (Finland), Creahm/MadMusee (Belgium), and Creative Minds (UK). Tickets are priced at £150 for the full weekend. There are options to add on a dinner at Pallant House Gallery following the key note speech on the Friday, and you can attend a VIP programme in the days leading up to the conference for an additional £75. Pallant House Gallery Bobby Baker’s Diary Drawings: Mental Illness and Me. 1997 – 2008. Day 579 Cathedral of the Mind. Image (c) Andrew Whittuck, 2009 Raw Vision 96 Article Preview: One of the early photographers of outsider art environments discusses his work and experiences by MARCUS SCHUBERT For those unfamiliar with the quality of artwork made by what has become known in contemporary parlance as an “outsider”, once seen it is remembered. Viewers are confronted with the disquieting aspect of a raw urgency and unrelenting psychological imperative that seems to drive the creative process. What specifically defines an outsider artist remains the subject of heated debate and a daunting exercise concerning the politics of aesthetic convention and the social history of art. However, it is generally agreed the artwork of an outsider tends to be made without notable training. An individual spontaneously and obsessively begins to develop a significant body of work separate from fashionable mainstream trends. In the realm of outsider art, creations are made without apparent availability, desire, or access to cultural integration and the current language of art. (1) The Giants, Palais Idéal, Hauterives, France, (Ferdinand Cheval), 1987 My focus of my interest in outsider art and how that relates to photography has been mainly upon exterior three-dimensional works of sculpture and architecture: visionary environments. Turning to the genre of art brut and outsider art as a photographic exploration became a direct response to what I realised was lacking in my formal art education, a response that was as much a reevaluation of institutional convention as it was an addendum to my own understanding of what art making was, and could be – something intuitive, urgent and raw, operating outside of institutional frameworks or sanctioning. Portrait of Vollis Simpson, Whirligig Park, Wilson, North Carolina, 1986 At a time in the art world when fleeting trends, appropriation and derivative sourcing for inspiration too often had a strangle-hold on the creative process, paying homage to unbridled original ideas and new aesthetic content was more valuable than ever. My attraction to this form was to the scale of the projects and long-term dedication to them by self-taught builders; the ongoing commitment to their spontaneous organic creation, a piece of architecture or series of exterior sculptures – where structure and detail were voiced with a unique aesthetic sensibility and visual language. I was attracted, too, by the economy of means, routinely incorporating found materials, and how the process of gathering and assembling was often explained by the artist in autobiographical terms. Indeed, storytelling and philosophising were often key components to the experience of a visit. Portrait of W. C. Rice in the Miracle Cross Garden, Pratville, Alabama, 1988 Read the rest of this article in Raw Vision 96, available now! 1. Marcus Schubert, curatorial notes in AVAM’s Visions magazine, 2001 in conjunction with the “Treasures of the Soul: Who is Rich” exhibition. |