Hammial ulli (1 risultati)
Editore: Southwood 1989, 1989
- Brossura
- Prima edizione
Da: Peter J. Hadley Bookseller BA, Ludlow, Regno UnitoPeter J. Hadley Bookseller BA
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 90,30
EUR 29,17 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 1 disponibili
Aggiungi al carrelloOwnership Signature of Roger Cardinal, VG in publishers decorated wrappers. 86pp. Illustrated throughout. 1st edition. Outsider Art in Australia (Aspect No. 35) is a landmark 1989 journal issue that helped introduce unschooled, "Art Brut," and self-taught Australian artists to wider critical acclaim. Edited by noted cultural sch…olars Ulli Beier, Rudi Krausman, and Philip Hammial, this edition documented isolated creators working entirely outside the mainstream.Roger Cardinal was one of Britains most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.CardinalÕs interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ÔotherÕ. His fascination with artists such as the violently psychotic Adolf Wlfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at ChristieÕs auctioneers ran quite contrary to CardinalÕs thinking.