Outsider art

Outsider art is art by self-taught or naïve art makers. Typically, those labeled as
outsider artists have little or no contact with the mainstream art world or art
institutions. In many cases, their work is discovered only after their deaths. Often,
outsider art illustrates extreme mental states, unconventional ideas, or elaborate
fantasy worlds.

The term outsider art was coined by art critic Roger Cardinal in 1972 as an English
synonym for art brut (French: [aʁ bʁyt], "raw art" or "rough art"), a label created by
French artist Jean Dubuffet to describe art created outside the boundaries of official
culture; Dubuffet focused particularly on art by those on the outside of the
established art scene, using as examples psychiatric hospital patients and
children.[1][2]

Outsider art has emerged as a successful art marketing category; an annual

Outsider Art Fair[3] has taken place in New York since 1993, and there are at least
two regularly published journals dedicated to the subject. The term is sometimes
misapplied as a catch-all marketing label for art created by people who are outside
Adolf Wölfli's Irren-Anstalt Band-Hain,
the mainstream "art world" or "art gallery system", regardless of their 1910
circumstances or the content of their work.[4] A more specific term, "outsider
music", was later adapted for musicians.

Contents
Art of the mentally ill
Jean Dubuffet and art brut
Cultural context
Terminology
Notable outsider artists
See also
References
Further reading
External links

Anna Zemánková, No title, 1960s

Art of the mentally ill
Interest in the art of the mentally ill, along withthat of children and the makers of "peasant art", was first demonstrated by "Der Blaue
Reiter" group: Wassily Kandinsky, Auguste Macke, Franz Marc, Alexej Jawlensky, and others. What the artists perceived in the work
of these groups was an expressive power born of their perceived lack of sophistication. Examples of this were reproduced in 1912 in
the first and only issue of their publication,Der Blaue Reiter Almanac. During World War I, Macke was killed at Champagne in 1914
and Marc was killed at Verdun in 1916; the gap left by these deaths was to some extent filled by Paul Klee, who continued to draw
inspiration from these 'primitives'.
Interest in the art of insane asylum inmates continued to grow in the 1920s. In 1921, Dr. Walter Morgenthaler published his book Ein
Geisteskranker als Künstler (A Psychiatric Patient as Artist) about Adolf Wölfli, a psychotic mental patient in his care. Wölfli had
spontaneously taken up drawing, and this activity seemed to calm him. His most outstanding work was an illustrated epic of 45
volumes in which he narrated his own imaginary life story. With 25,000 pages, 1,600 illustrations, and 1,500 collages, it is a
monumental work. Wölfli also produced a large number of smaller works, some of which were sold or given as gifts. His work is on
display at the Adolf Wölfli Foundationin the Museum of Fine Art, Bern.

A defining moment was the publication of Bildnerei der Geisteskranken (Artistry of the mentally ill) in 1922, by Dr. Hans Prinzhorn.
This was the first formal study of psychiatric works, based upon a compilation of thousands of examples from European institutions.
The book and the art collection gained much attention from avant-garde artists of the time, including Paul Klee, Max Ernst, and Jean
Dubuffet.[5]

People with some formal artistic training as well as well-established artists are not immune from mental illness, and may also be
institutionalized. For example, William Kurelek, later awarded the Order of Canada for his artistic life work, as a young man was
admitted to the Maudsley Psychiatric Hospitalwhere he was treated forschizophrenia.[6] In hospital he painted, producing The Maze,
a dark depiction of his tortured youth.[7] He was transferred from the Maudsley to Netherne Hospital from November 1953 to
January 1955, to work withEdward Adamson (1911–1996), a pioneer of art therapy, and creator of the Adamson Collection.

Jean Dubuffet and art brut

French artist Jean Dubuffet was particularly struck by Bildnerei der
Geisteskranken and began his own collection of such art, which he called art
brut or raw art. In 1948 he formed the Compagnie de l'Art Brut along with
other artists, including André Breton. The collection he established became
known as the Collection de l'art brut. It contains thousands of works and is now
permanently housed inLausanne, Switzerland.

Dubuffet characterized art brut as:

"Those works created from solitude and from pure View inside the Collection de l'art brut
and authentic creative impulses – where the worries museum, Lausanne.
of competition, acclaim and social promotion do not
interfere – are, because of these very facts, more
precious than the productions of professionals. After a certain familiarity with these
flourishings of an exalted feverishness, lived so fully and so intensely by their authors, we
cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to
be the game of a futile society, a fallacious parade." — Jean Dubuffet. Place à l'incivisme
(Make way for Incivism). Art and Text no.27 (December 1987 – February 1988). p.36
Dubuffet's writing on art brut was the subject of a noted program at the Art Club of Chicago
in the early 1950s.

Dubuffet argued that 'culture', that is mainstream culture, managed to assimilate every new development in art, and by doing so took
away whatever power it might have had. The result was to asphyxiate genuine expression. Art brut was his solution to this problem –
only art brut was immune to the influences of culture, immune to being absorbed and assimilated, because the artists themselves were
not willing or able to be assimilated.

Cultural context
The interest in "outsider" practices among twentieth-century artists and critics can be seen as part of a larger emphasis on the
rejection of established values within the modernist art milieu. The early part of the 20th century gave rise to Cubism and the Dada,
Constructivist and Futurist movements in art, all of which involved a dramatic movement away from cultural forms of the past.
Dadaist Marcel Duchamp, for example, abandoned "painterly" technique to allow chance operations a role in determining the form of
his works, or simply to re-contextualize existing "readymade" objects as art. Mid-century artists, including Pablo Picasso, looked
outside the traditions of high culture for inspiration, drawing from the artifacts of "primitive" societies, the unschooled artwork of
children, and vulgar advertising graphics. Dubuffet's championing of the art brut – of the insane and others at the margins of society
– is yet another example of avant-garde art challenging established cultural values.

Terminology
A number of terms are used to describe art that is loosely understood as "outside" of
official culture. Definitions of these terms vary and overlap.[8] The editors of Raw
Vision, a leading journal in the field, suggest that "Whatever views we have about
the value of controversy itself, it is important to sustain creative discussion by way
of an agreed vocabulary". Consequently, they lament the use of "outsider artist" to
refer to almost any untrained artist. "It is not enough to be untrained, clumsy or
naïve. Outsider Art is virtually synonymous with Art Brut in both spirit and
meaning, to that rarity of art produced by those who do not know its name."

Art Brut: literally translated from French means "raw art";'Raw' in that it
has not been through the 'cooking' process: the world of art schools,
galleries, museums. Originally art by psychotic individuals who existed
almost completely outside culture and society . Strictly speaking it refers
only to the Collection de l'art brut.
Folk art: Folk art originally suggested crafts and decorative skills
associated with peasant communities in Europe – though presumably it
could equally apply to any indigenous culture. It has broadened to
include any product of practical craftsmanship and decorative skill –
everything from chain-saw animals to hub-cap buildings. A key
distinction between folk and outsider art is that folk art typically
embodies traditional forms and social values, where outsider art stands
in some marginal relationship to society's mainstream.
Intuitive art / Visionary art: Raw Vision Magazine's preferred general
terms for outsider art. It describes them as deliberate umbrella terms.
However, Visionary Art unlike other definitions here can often refer to
the subject matter of the works, which includes images of a spiritual or
religious nature. Intuitive art is probably the most general term available.
Intuit: The Center for Intuitive and Outsider Artbased in Chicago
operates a museum dedicated to the study and exhibition of intuitive and
outsider art. The American Visionary Art Museum in Baltimore, Maryland
is dedicated to the collection and display of visionary art.
Marginal art/Art singulier: Essentially the same asNeuve Invention;
refers to artists on the margins of the art world.
Naïve art: Another term commonly applied to untrained artists who
aspire to "normal" artistic status, i.e. they have a much more conscious
interaction with the mainstream art world than do outsider artists.
Neuve invention: Used to describe artists who, although marginal, have Two images of Joe Minter'sAfrican
some interaction with mainstream culture. They may be doing art part- Village in America, a half-acre
time for instance. The expression was coined by Dubuf fet too; strictly visionary art environmentin
speaking it refers only to a special part of theCollection de l'art brut.
Birmingham, Alabama. Scenes
Visionary environments: Buildings and sculpture parks built by visionary
include African warriors watching
artists – range from decorated houses, to large areas incorporating a
large number of individual sculptures with a tightly associated theme. their descendants’ struggles in
Examples include Watts Towers by Simon Rodia, Buddha Park and Sala Alabama, tributes to black scientists
Keoku by Bunleua Sulilat, and The Palais Ideal by Ferdinand Cheval. and military leaders, recreations of
the epic civil rights confrontations in
Alabama, and biblical scenes.
Notable outsider artists
Nick Blinko (born 1961) is an English musician and artist diagnosed withschizoaffective disorder. He is represented
in the Collection de l'art brut in Lausanne. He is best known through his works with his bandRudimentary Peni.

Sid Boyum[9] (1914-1991) was an industrial photographer who turned his home and yard into a vast, dense array of
[10] throughout his
concrete and wood sculptures, many of which have since been moved to public locations
neighborhood in Madison, WI.
Al Carbee (1914–2005) was a prolific, multi-format artist who is known
for his Barbie collages. Carbee created a massive imaginaryutopia with
his collages, which he called "Epicuma". Carbee's art was discovered
accidentally while he was in his 80s, leading to a flurry of interest in his
later years.[11] Carbee was the subject of the documentary filmMagical
Universe.
Nek Chand (1924–2015) was an Indian artist, famous for building the
Rock Garden of Chandigarh, a forty-acre (160,000 m2) sculpture garden
in the city of Chandigarh, India.
Ferdinand Cheval (1836–1924) was a country postman in Hauterives,
south of Lyon, France. Motivated by a dream, he spent 33 years
constructing the Palais Ideal. Half organic building, half massive Cathedral of Justo Gallego in 2005
sculpture, it was constructed from stones collected on his postal round,
held together with chicken wire, cement, and lime.
Felipe Jesus Consalvos(1891–c. 1960) was a Cuban-American cigar
roller and artist, known for his posthumously discovered body of art work
based on the vernacular tradition ofcigar band collage.
Henry Darger (1892–1973) was a solitary man who was orphaned and
institutionalized as a child. In the privacy of his small north side Chicago
apartment, he produced over 35,000 pages of text and hundreds of
large scale illustrations, including maps, collaged photos, and
watercolors that depict the heroic struggles of his child characters, "the
Vivian Girls," engaged in activities such as battle scenes combining
imagery of the US Civil War with the presence of fanciful monsters.
Charles Dellschau (1830–1923) born in Prussia, Dellschau emigrated to
the US and in his 70s secluded himself in an attic and over the course of
20 years created 12 large scale books filled with mixed media August Natterer's Weltachse mit
watercolors depicting the inventions of the Sonora Aero Club, Haase (Axle of the World, with
chronicling the birth of the age of aviation. It is unknown if his subject Rabbit), 1919
was factual, a fictionalization or a delusion.
Holly Farrell 21st century Canadian self taught artist whose paintings
include the Barbie & Ken series, is considered an Outsider artist.[12]
Madge Gill (1882–1961) was an English mediumistic artist who made thousands of drawings "guided" by a spirit she
called "Myrninerest" (my inner rest).
Paul Gösch (1885–1940), a schizophrenic German artist and architect murdered by the Nazis in theireuthanasia
campaign.

James Hampton (1909–1964) was an African-American janitor who

secretly built a large assemblage of religious art from scavenged
materials, such as discardedlight bulbs and aluminum foil[13]
Annie Hooper (1897–1986), a sculptor of visionary religious art from
Buxton, North Carolina, who created nearly 5,000 sculptures depicting
biblical scenes. Her work is now in the permanent collection ofNorth
Carolina State University.
Georgiana Houghton (1814–1884), a British spiritualist medium, known
for her visionary 'spirit drawings', consisting of intricate abstract
watercolours.
Vojislav Jakic (1932–2003), a Serbian artist who spent most of his life in James Hampton's The Throne of the
a small town of Despotovac producing drawings up to five meters long
evoking the memories of his own life, his obsessions with death, and Third Heaven of the Nations'
reflections on art. His works mix abstraction and graphic signs and Millennium General Assembly
writings.
Mollie Jenson (1890–1973) created a series of large-scale concrete
sculptures embellished with tile mosaics inRiver Falls, Wisconsin.
Susan Te Kahurangi King (born 1951) is a New Zealand artist whose ability to speak declined by the age of four and
stopped speaking altogether by age eight. King is anautistic savant who has methodically created an entire
analogous world through extraordinary drawings using pen, graphite, colored pencil, crayon and ink. She drew
prolifically through to the early 1990s and then without reason suddenly stopped. King renewed drawing in 2008
during filming of a documentary on her artwork.
Leonard Knight (1931–2014) created theSalvation Mountain, a covered hill art installation in the Colorado Desert
that encompasses numerous murals and areas painted with Christian sayings and Bible verses.
George Paul Kornegay(1913–2014) created a large Christian visionary environment from found objects on a hill
near his home in Brent, Alabama.[14]
Norbert Kox (born 1945), formerly a hard-drinking and drugging member of the Outlaws biker gang, Norbert Kox
began to produce a highly singular style of iconography sometime after his conversion to Christianity , and a long
period of hermitage and study.
Paul Laffoley (1940–2015) an American artist,Laffoley's pieces are painted on large canvases and combine words
and imagery to depict a spiritual architecture of explanation, tackling concepts like dimensionality
, time travel through
hacking relativity, connecting conceptual threads shared by philosophers through the millennia, and theories about
the cosmic origins of mankind.
Maud Lewis (1903–1970) was a Canadian folk artist. Lewis painted bright scenes of rural Nova Scotian life on found
objects, including boards, construction materials, etc.
Alexander Lobanov (1924–2003) was a withdrawn deaf Russian known for detailed and self-aggrandizing self-
portraits: paintings, photographs and quilts, which usually include images of large guns.
Justo Gallego Martínez(born 1925) is a Spanish former monk who has been erecting a cathedral-like building in the
town of Mejorada del Campo, Spain, since 1961. The building has neither any planning permissions, nor has it the
benediction of any church authority.
Helen Martins (1897–1976) transformed the house she inherited from her parents in Nieu-Bethesda, South Africa,
into a fantastical environment decorated with crushed glass and cement sculptures. The house is known as The Owl
House.
Tarcisio Merati (1934–1995), an Italian artist, was confined to a psychiatric hospital for most of his adult life during
which time he produced a vast amount of drawings (several dream toys, bird on nest etc.), text and musical
composition.
Markus Meurer (born 1959), a German artist, transforms found objects into mythic creations, hybrid creatures of
animal, man and machine.
Ataa Oko (1919–2012), a Ghanaian artist who was one of the first builders offantasy coffins and who became in
collaboration with a social anthropologist,Regula Tschumi, a painter at the age of 85. He started to draw and paint
his former fantasy coffins, but also religious ceremonies and spirits he pretended to see.
The Philadelphia Wireman, a creator of wire sculptures. Nothing is known of their identity and they are presumed
deceased.
Martín Ramírez (1895–1963), a Mexican outsider artist who spent most of his adult life institutionalized in a
California mental hospital (he had been diagnosed as paranoid schizophrenic). He developed an elaborate
iconography featuring repeating shapes mixed with images of trains and Mexican folk figures.
Achilles Rizzoli (1896–1981) was employed as an architectural draftsman. He lived with his mother near San
Francisco, California. After his death, a huge collection of elaborate drawings were discovered, many in the form of
maps and architectural renderings that described a highly personal fantasy exposition, including portraits of his
mother as a neo-baroque building.
Royal Robertson (1936–1997), a schizophrenic sign painter who received vivid, violent visions of spaceships, God,
and the apocalypse, which he then translated into bright, colourful, comic-book like sketches, often including
references to his wife's unfaithfulness.
Sam (Simon) Rodia (1875–1965) was an itinerant construction worker and untrained in the arts. Plagued by personal
problems, he abandoned his family to ride the rails until he settled in Los Angeles and created the landmark Watts
Towers. Abandoning his monumental life's work, he returned to die with his family , among whom he was regarded as
a bum, artist, crazy or a genius.

Eugenio Santoro (1920–2006) was an Italian sculptor and painter . He

moved to Switzerland working as a laborer , then he began a brilliant
career as a wood sculptor, carving life-size human and animals figures
of great expressiveness from fruit trees, which he sometimes painted
and coated with varnish.
Friedrich Schröder Sonnenstern(1892–1982) was a German painter
who achieved fame and notoriety in the 1950s and 60s for his scabrous,
often erotic works.
Judith Scott (1943–2005) was borndeaf and with Down Syndrome. After
being institutionalized for 35 years she attendedCreative Growth Art
Center (a center for artists with disabilities in Oakland, CA) and went on
to become an internationally renownedfiber art sculptor. Bird made from twigs and branches,
Richard Sharpe Shaver(1907–1975) produced photographs, paintings, by Eugenio Santoro. Collection de
drawings and writing connected to his unorthodox theories about the l'art brut, Lausanne
history of life on Earth. He believed that certain stones were actually
image-filled "rock books" created by an ancient superior race, and that
sadistic descendants of those ancients live inside the earth, using ancient "ray" machines to torment humankind. His
paintings, based on rock slices, often incorporate unusual materials such as soap flakes.
Charles Steffen (1927–1995), Chicago artist, made art while institutionalized.
Kea Tawana (born c. 1935), American sculptor who created theArk, an 86-foot-long ship made from architectural
salvage in a vacant lot inNewark, New Jersey.
 Miroslav Tichý (1926–2011) was a photographer who took thousands of surreptitious pictures of women in his
hometown of Kyjov in the Czech Republic, using homemade cameras constructed of cardboard tubes, tin cans and
other at-hand materials.
Pierre Vuitton (1880–1962), French artist. After being severely wounded, both physically and psychologically , in
World War I, Vuitton abandoned his previouslife as the child of wealthy merchants. After several stays in sanitariums
and mental hospitals, he moved to Paris in 1920. A user of morphine and alcohol, he lived as a casual laborer in
poverty despite the occasional sale of his pictures. His first works were probably during the war years; later he
developed "time-excesses" in which he reportedly spent several days painting without eating or sleeping.
Increasingly, however, his deteriorating mental condition spoiled any binding relationship,so he spent most of his
later life in mental hospitals or in nursing homes.
Willem van Genk (1927–2005) is the best known Dutch representative of outsider art. He was considered
schizophrenic and autistic, and made drawings in view from above of stations and wirings, European cities, busses
and trolleys, zeppelins and bombers. He also created 300 intricately decorated rain coats.
Wesley Willis (1963–2003), a schizophrenic musician and artist fromChicago, known for his prolific (and bizarre)
musical recordings as well as his hundreds of colored ink-pen drawings of Chicago street-scapes. Many of his
drawings appear as covers to his albums. Although Willis was poor and often dependent on the charity of friends for
housing, his drawings now sell for thousands of dollars apiece.
Scottie Wilson (1928–1972) (born Louis Freeman), emigrated from Scotland to Canada and opened a second-hand
clothes store, found fame when his casual doodlings were noted for their dream-like character .
Adolf Wölfli (1864–1930), a Swiss artist, was confined to a psychiatric hospital for most of his adult life during which
time he produced a vast amount of drawings, text and musical composition. Wölfli was the first well-known "outsider
artist", and he remains closely associated with the label.
Kiyoshi Yamashita (1922–1971) was a Japanese graphic artist who spent much of his life wandering as a vagabond
through Japan. He has been considered anautistic savant.
Joseph Yoakum (1890–1972), an African-American artist who spent his last years producing a vast quantity of
sinuous, surreal landscapes based on both real and imagined travels.
Stephen Wiltshire is a prodigious savant,[15] capable of drawing the entire skyline of a city after a helicopter ride.
[16]

Anna Zemánková (1908–1986) was a self-taught Czech painter , draftsman and pastel artist. Her work was featured
in a group show at London’s Hayward Gallery in 1979, and eighteen of her pieces were shown at theVenice
Biennale in 2013.[17]

See also
Avant-garde Lille Métropole Museum of Modern, Contemporary and
Asemic writing Outsider Art
Automatic writing Lowbrow (art movement)
Category: Outsider artists Outsider music
Collection de l'art brut Psychedelic art
David Bowie's art collectionand Outside (1995) Saving and Preserving Arts and Cultural Environments
Intuit: The Center for Intuitive and Outsider Art Schizoid personality disorder
List of Outsider artists Surrealism
Vernacular architecture

References
1. Roger Cardinal, Outsider Art, London, 1972
2. Bibliography The 20th Century Art Book. New Y
ork, NY: Phaidon Press, 1996.
3. "Outsider Art Fair" (http://www.outsiderartfair.com/). Outsider Art Fair. Retrieved 19 July 2014.
4. "What the Dickens is Outsider Art?" The Pantograph Punch, December 2016, retrieved 2017-01-16
(http://pantograp
h-punch.com/post/outsider-art)
5. "Outsider Art Sourcebook" (Raw Vision, Watford, 2009, p.4) (http://www.rawvision.com/what-outsider-art)
6. Cornell case study: Early Onset Schizophrenia – William Kurelek(http://courses.cit.cornell.edu/psych431_nbb421/st
udent2003/epl8/)
7. (http://bjp.rcpsych.org/cgi/reprint/179/5/0.pdf)British Journal of Psychiatry(2001)
8. Brut Force. "The Many Terms in Our Continuum"(http://brutforce.com/many-terms-continuum-outsider-art/)
. Brut
Force. Retrieved 8 February 2017.
 9. Rajer, Anton (1999). "Sid Boyum's Sculpture:The Challenge of Preserving Folk Art Environments"(http://folkart.org/f
am/folk-art-messenger). Folk Art Society of America. Folk Art Society of America. Retrieved 2015-10-15.
10. "Art in public places: Sid Boyum's concrete sculptures find new homes on Madison's East Side"
(http://madisonstorie
s.com/2007/08/15/art-in-public-places-sid-boyums-concrete-sculptures-find-new-homes-on-madisons-east-side/).
Quintessential Madison. Retrieved 2015-10-19.
11. Edward Gómez. "Al Carbee's Art of Dolls and Yearning: "Oh, for a real, live Barbie!" " (http://hyperallergic.com/12524
8/al-carbees-art-of-dolls-and-yearning-oh-for-a-real-live-barbie/)
. Hyperallergic.
12. "Inside the Outsider Art Fair"(https://www.huffingtonpost.com/sebastian-howard/inside-the-outsider-art-f_b_461593.
html). Huffington Post. Huffington Post. Retrieved 2 November 2018.
13. "James Hampton" (https://americanart.si.edu/artist/james-hampton-2052)
. www.americanart.si.edu. Retrieved
30 September 2018.
14. Carol Crown; Florida State University Museum of Fine Arts (2004).Coming Home!: Self-taught Artists, the Bible, and
the American South (https://books.google.com/books?id=tJT-ctyYB1YC). Univ. Press of Mississippi. p. 95.
ISBN 978-1-57806-659-9.
15. Treffert, Darold (1989). Extraordinary People: understanding "idiot savants"
. New York: Harper & Row. ISBN 0-06-
015945-6.
16. David Martin. Savants: Charting "islands of genius", CNN broadcast September 14, 2006(http://www.cnn.com/2006/
HEALTH/09/06/savant.genius/index.html)
17. Anna Zemánková, The Good Luck Gallery , Los Angeles (https://web.archive.org/web/20170609105042/http://www
.th
egoodluckgallery.com/exhibitions/current/anna-zemankova/)

Further reading
Bandyopadhyay, S. and I. Jackson, The Collection, the Ruin and the Theatre: architecture, sculpture and landscape
in Nek Chand's Rock Garden, ChandigarhLiverpool, Liverpool University Press, 2007.
Greg Bottoms, I Colori dell'Apocalisse – Viaggi nell'outsider art, Odoya, Bologna 2009ISBN 978-88-6288-026-8
Greg Bottoms, The Colorful Apocalypse: Journeys in Outsider Art , Chicago: University of Chicago Press, 2007
ISBN 978-0-226-06685-1
Roger Cardinal, Outsider Art, London, 1972.
Roger Cardinal, Art Brut. In: Dictionary of Art, Vol. 2, London, 1996, p. 515–516.
Marc Decimo, Les Jardins de l'art brut, Les presses du réel, Dijon (France), 2007.
Turhan Demirel, "Outsider Bilderwelten", Bettina Peters Verlag, 2006, ISBN 3-939691-44-5
Jean Dubuffet: L’Art brut préféré aux arts culturels[1949](=engl in: Art brut. Madness and Marginalia, special issue
of Art & Text, No. 27, 1987, p. 31–33).
Hal Foster, Blinded Insight: On the Modernist Reception of the Art of The Mentally Ill. In: October, No. 97, Summer
2001, pp. 3–30.
Michael D. Hall and Eugene W. Metcalf, eds., The Artist Outsider: Creativity and the Boundaries of Culture
Washington D.C.: Smithsonian Institution Scholarly Press, 1993. ISBN 978-1560983354
Deborah Klochko and John Turner, eds., Create and Be Recognized: Photography on the Edge , San Francisco:
Chronicle Books, 2004.
John M. MacGregor, The Discovery of the Art of the Insane.Princeton, Oxford, 1989.
David Maclagan, Outsider Art: From the margins to the marketplace , London: Reaktion books, 2009.
John Maizels, Raw Creation art and beyond,Phaidon Press Limited, London, 1996.
John Maizels (ed.), Outsider Art Sourcebook. Raw Vision, Watford, 2009. ISBN 978-0-9543393-2-6
Lucienne Peiry, Art brut: The Origins of Outsider Art, Paris: Flammarion, 2001.
Lucienne Peiry (ed.), "Collection de l'Art Brut, Lausanne", Skira Flammarion, 2012.
Lyle Rexer, How to Look at Outsider Art,New York:Abrams, 2005.
Colin Rhodes, Outsider Art: Spontaneous Alternatives, London: Thames and Hudson, 2000.
Rubin, Susan Goldman.(March 9, 2004). Art Against the Odds: From Slave Quilts to Prison Paintings.Publisher:
Crown Books for Young Readers. ISBN 0-375-82406-5
Michel Thévoz, Art brut, New York, 1975.
Maurice Tuchman and Carol Eliel, eds.Parallel Visions. Modern Artists and OutsiderArt. Exhb. cat. Los Angeles
County Museum of Art, Los Angeles, 1992.
Bianca Tosatti, Arte e psichiatria. Uno sguardo sottile, (in collaboration with Giorgio Bedoni), Mazzotta, Milano, 2000.
Bianca Tosatti, Les Fascicules de l'Art brut', un saggio sull'artista Antonio dalla aVlle,2007.
 Allen S. Weiss, Shattered Forms, Art Brut, Phantasms, Modernism,State University of New York, Albany, 1992.
Self Taught Artists of the 20th Century: An American Anthology San Francisco: Chronicle Books, 1998
Daniel Wojcik, Outsider Art: Visionary Worlds and Trauma. University Press of Mississippi, 2016.

External links
Raw Vision Magazine - International art magazine devoted to outsider art
Gricha-rosov.com - Rich database and presentation of international outsider artists (in French language, but has
extensive illustrations)
Outsider Artists in the Collection of Museum of Naive and Marginal Art (MNMA) Jagodina Serbia
Russian outsider art from the Bogemskaja-T urchin collection
Outsider Art news, wire, and announcements

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