L’art brut est devenu un objet d’étude spécialisé et il occupe un champ de réflexion non négligeable tant du côté universitaire que dans le monde institutionnel de l’art.

An exhibition showcases the graphically powerful work of Mary T. Smith — a self-taught artist from Mississippi — in a rare, in-depth survey.

Still mourning the American Folk Art Museum, a critic says, “We, and MoMA, don’t need any more Rauschenbergs, or Richters.” Bring on the outsider artists.

Writing at a watershed moment in the mainstream acceptance of outsider art, Jonathan Williams appears to have found in voices like Dial’s an antidote to all he felt was repugnant about the South and about America.

After the Guggenheim’s smash success, 6 artists who could become intelligent blockbusters.

Miguel Covarrubias’s caricatures; Mariam Ghani and Erin Ellen Kelly’s latest collaboration; Bill Traylor’s drawings; Vivian Maier’s self-portraits; and Hervé Guibert’s photographs of friends and lovers.

The Jamaican visionary John Dunkley (1891-1947) is the latest artist to decimate the distinctions between self-taught and trained, outsider and insider and folk and not folk.

As the art world has grown and becomes less hierarchical, Outsider Art has increased in popularity. Held in New York, since 1993, and premiering in Paris ten years later, The Outsider Art Fair is central for the dissemination of Outsider art.

Art & Mind is a journey into art, madness and the unconscious. An exploration of visionary artists and the creative impulse, from the Flemish Masters of the Renaissance to the avant-garde movement of Surrealism and the unsung geniuses of Art Brut and Outsider Art.


Art’s uplifting power is unmistakably real; today, the works of the most original autodidacts feel more compelling than ever.

American Folk Art Museum's exhibition "Paa Joe: Gates of No Return" featured in Time Out New York. 

On November 18, LACMA Los Angeles County Museum of Art will open the third leg of "Outliers and American Vanguard." 

The exhibition Art Brut from Japan, another look offers works by twenty-four contemporary creators, presented for the first time in a museum institution in Europe.

The New York Times reports that the Souls Grow Deep Foundation will help five more museums acquire works by self-taught African-American artists of the South. 

This weekend, the Friends of Pasaquan and the Pasaquan Preservation Society presents Pasafest, a festival to highlight the cultures of the Southeast and celebrate the life and traditions of the visionary artist St. EOM (Eddie Owens Martin).

This phenomenal piece by Adolf Wölfli just sold for $795,000 at Sotheby's Auction House in the Marsha and Robin Williams sale!

The New Yorker reviews the new Bill Traylor retrospective, now on view at the Smithsonian Institution through March 17, 2019.

Jerry Saltz​ remembers Phyllis Kind in his obituary on Vulture​

Andrew Russeth has written a tribute to Phyllis Kind in ARTnews Magazine, which delves into her extraordinary life and chronicles her achievements in the art world. 

PÒTOPRENS: The Urban Artists of Port-au-Prince brings together the work of over 25 artists working in the Haitian capital.

After over 180 irreverent exhibitions, a beloved Paris gallery prepares to close its doors.

"Charting the Divine" at the American Folk Art Museum has been selected by Jerry Saltz as one of this week's To Dos for New York Magazine.

Largest single-collection gift of works predominantly by African-American artists in university’s 166-year history

Self-taught art is "genuine, immediate, and candid," says the museum's new director, Jason T. Busch.

The American Folk Art Museum announced Wednesday that Jason T. Busch will take over as its executive director in September, replacing Anne-Imelda Radice, who stepped down in March after nearly six years with the institution.

An Austrian museum presents a wide-ranging survey of works made over almost 50 years by residents and other autodidacts associated with the Art Brut Center Gugging, near Vienna.

The New York Times reviews the current American Folk Art Museum's exhibition “Charting the Divine Plan: The Art of Orra White Hitchcock.” 

The universe of the graffiti master turned astrofunk storyteller in a bracing show reveals his lifelong battle against the limitations of form.

Kunsthalle Zürich Director Daniel Baumann's essay in the new issue of The Brooklyn Rail

By conceiving the notion of art brut in a Europe devastated by the Second World War, French artist Jean Dubuffet questioned the underlying pretense behind the processes of artistic legitimization, dispossessing those authorities empowered to legislate in the art world.

It doesn’t take the antipsychiatry movement to remind us that normality and difference are always relative and result from hegemony and hierarchies of power.

Lisa Stone and Kenneth Burkhart wanted art that represented the “pulse of the city” for their show, “Chicago Calling: Art Against the Flow” at Intuit: The Center for Intuitive and Outsider Art — but they had a problem: Of the 10 artists featured in the exhibit, only one is still living.

In recent decades, a tale unfolding within the larger story of contemporary art has been our gradually learning more about, and our trying to place, outsider artists.

Now ON DISPLAY here in New York: works by the French artist Jean Dubuffet. Years after his death, the art world is still taking full measure of the man. 

The Met is exhibiting donations from the Souls Grown Deep Foundation—which preserves the legacy of self-taught contemporary African-American artists—including works by Thornton Dial and Gee’s Bend quilts.

An exhibition of ecstatic, mystical work at the Halle Saint Pierre in Paris questions what is visionary, anti-pop, art brut, or art brutish.

More than a few self-taught artists have invented grand narratives. 

The entry of works from the Souls Grown Deep Foundation into the Met’s collection has prompted the museum to rethink the way it presents 20th-century art history.

Humans have been making art since the dawn of time, often with little education in materials, techniques, or theory, yet the notion of the “self-taught artist” is a relatively new phenomenon.

There is this sense, in looking at Hawkins’s bold and humorous paintings, of returning to something one has always known.

The exhibition features some compelling artwork, but it falls into the same traps and stereotypes that have plagued many museum exhibitions featuring outlier artists (if that’s what we’re supposed to call them now).

Curtain also lifts on Manifesta 12 and the 2019 Sharjah Biennial

City officials in Boise, Idaho, recently made an unexpected discovery, unearthing thousands of dollars’ worth of drawings by a well-known artist hidden in the walls of his own home.

If there were a Collecting Confidence Index, Robert M. Greenberg’s score would be 100.

May event organised by the charity Outside In and European Outsider Art Association aims to give voice to artists on margins of society

Kafka's perplexing creature made of tangled threads provides inspiration for a group show at Malmö Konsthall, Sweden

"Outsider" artists hold their own against more established contemporary names and inspire buyers in search of authenticity and quirk

Behold the artist Frank Walter at the booth of Hirschl & Adler Modern at the wonderful 2018 ADAA Art Show.

An exhibition at the New York Studio School gathers about 50 of Castle’s strangely poetic drawings and cardboard constructions.

Anyone interested in American modernism should see “Outliers and American Vanguard Art” at the National Gallery of Art. Flaws and all, this groundbreaking adventure highlights outstanding, sometimes rarely-seen artworks; revives neglected histories; and reframes the contributions of self-taught artists to this country’s rich visual culture.

The most powerful outsider artworks in Outliers and American Vanguard Art at the National Gallery of Art evoke ideals about all artists: the belief, for example, that they are distinct from non-artists.

Art brut, or raw art, is “raw because it is ‘uncooked’ by culture,” John Maizels writes in Raw Creation, “raw because it came directly from the psyche, and, in its purest form, touched a raw nerve.”

Vestiges & Verse: Notes from the Newfangled Epic, an exhibition of illustrated texts by self-taught artists, feels so intimate that it seems to enter the creative process itself.

Talk about your cutting-edge exhibitions: Harley Spiller’s showing off his scissors. Some 200 of the 800 he owns. 

Twenty years ago Renaldo Kuhler was an obscure scientific illustrator who pursued his work in a tiny, cluttered office at Raleigh’s North Carolina Museum of Natural Sciences.

Exhibition with charity Outside In shows work by "hidden" artists working outside mainstream society