National Art Education Association

Learning from the Art of Self-Taught ArtistsAuthor(s): J. UlbrichtSource: Art Education, Vol. 53, No. 4, The Value of Local History and Place within ArtEducation (Jul., 2000), pp. 45-49Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193828Accessed: 06/10/2010 20:48

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.~/ From the ~~JAntoght

BY J. ULBRICHT1

Alma P. Gunter, Jimbo Man, 1992. Painted and found objects on wood. 62 x 31 ?" x 16." Webb Gallery, Waxahachie, TX.

here seems to be a growing interest among Evidence of this can be seen in a growing number of museum and

artists, curators, and the public in the art of galery art exhibitions featuring the art of self-taught artists, plus

self-taught artists that is reminiscent of art an increasing number of articles and presentations on the subject self-taught artists that is reminiscent of art ^^^^ ^ ^-efTuh rit fte2t Of note is the traveling exhibit "Self-Taught Artists of the 20th

educators' long-standing interest m child art. Century" originated in 1998 by the Museum of FolkArt in New York. Featured in the exhibition are several works by each of 146 self-taught artists including Grandma Moses, Howard Finster, and Horace Pippin. A similar exhibition, "Spirited Journeys," was organized by Lynne Adele (1997) for the Archer M. Huntington Art Gallery (now the Blanton Museum of Art) in Austin, Texas. Additional exhibits of work by self-taught artists can be seen in some museums and galleries including the American Visionary Art Museum in Baltimore, Maryland. Testament to the growing interest is an increasing number of related books, articles and presentations (Hall & Metcalf, 1994; Brackman & Dwigans, 1999; Delacruz, 1999; Jones, in press; Krug & Parker, 1998-99; McNeill & Zeigler, 1999).

It is the purpose of this article to (a) trace the history of our concern for art of self-taught artists, (b) speculate on the growth of our developing interest, and (c) analyze the relationship between art of self-taught artists and the teaching of art in schools.

Art by self-taught artists includes art created outside the structure of the mainstream art world-but not necessarily outside the broader cultural mainstream. Art by self-taught artists has been associated with primitive, folk, community-based, grassroots, and outsider art. Although often used interchangeably, each term listed has its derivation and meaning. History

According to Danto (1998) up until the beginning of Modernism, Western artists used techniques such as perspective, foreshortening, and chiaroscuro to make technically realistic art. To produce realistic art Pre-Modern artists needed all of the skills previously developed. After the invention of the daguerreotype in 1839, the realist Paul Delaroche declared realistic painting to be dead. After 1839, it seemed that Modem artists slowly began

David Strickland, Scarecrow, 1997.79 x 39 x 33." Private Collection, Courtesy of Webb Gallery, Waxahachie, TX.

JULY 2000 / ART EDUCATION

The need to recognize new ideas, discover metaphorical roots, understan( "worlds of art," d sense of place, ar understanding pr ample reasons to the art of self-tau

investigated the elements of matter including the molecule and atom to learn more about the universe. Increasingly, new elements were identified and investigated further.

After World War II, Clement Greenberg advocated a form of art that was devoid of outside influences. Starting in the early 1970s, Allan Kaprow (1993) wrote a series of articles on the "education of the un-artist." The focus of each was about the need for artists to become purer by unlearning everything their art training and professional associations had taught them.

As artists strove for purity of form, primitive and child art were seen as examples worth emulating because they were assumed to be unspoiled and came from pure invention. Children were seen as having innate artistic abilities. When surrealism was popular, proponents said that children and the insane produced more authentic art than was produced by trained artists. Instead of artists teaching children how to draw and paint, Western artists learned from children (Fineberg, 1997).

In addition to the influence of child art, early Modem artists such as Pablo Picasso began to collect, explore, and employ concepts and imagery drawn from various cultures. Although the work of many Modem artists became increasingly abstract, some artists incorporated recognizable popular imagery in their work. Roy Lichtenstein converted past art into Pop art and later artists such as David Hockney,

J new Roger Brown, and Keith Haring used

iscove r a popular imagery to tell personal stories.

nd expand As artists and curators began to understand that primitive art was not

'ovides created in isolation and was the result of

i learn from unique, longstanding cultural traditions and standards, artifacts from natural

g ht artists. history museums became worthy of inclusion in art exhibitions. Recently Fred

Wilson2 and Coco Fusco3 have combined artifacts and art objects from different cultures and periods in an interdisciplinary manner to make new art.

As the politics of identity (women, people of color, etc.) were explored, artists, critics and art historians increasingly began to appreciate the significance and value of work by outsider artists. This has led to the proliferation of exhibitions of work by self-taught artists, such as those mentioned earlier.

With this background, one can begin to understand the development and meaning of terms such as "primitive," "folk," and "outsider" art. "Primitive" and "folk" art were terms that earlier Western artists and writers used to distinguish mainstream art from other art. Western artists, critics, and art historians saw primitive art as being unsophisticated. Once primitive art was seen as having a tradition of its own, the "primitive" art term became less useful. Later, folk art became more important because of its perceived traditional and mysterious qualities.

The Postmodern outsider art term is more closely aligned with art produced by alternative, romantic, nonconformist, or multicultural artists (Danto, 1998). For Cardinal (1972, p. 180), the most notable distinction of outsider art is the artists' ignorance of and separation from the linear Western art history sequence. Most outsider artists arrived at their art without the benefit of discourse, knowledge, and rationale from the dominant world of art.

This leads to the concept of the self- .''''itaught artist. Although most artists

continue to educate themselves once they discontinue formal schooling, some associate themselves with larger art worlds while others work in relative isolation. Self-taught artists whose work has been shown in the exhibitions previously noted may not have had access to formal schooling or the mainstream art discourse. Without these mainstream connections, one can assume that self-taught artists exist because of a need to sustain personal traditions or communicate with self and others in local communities.

John Banks, Picking Cotton in South Texas Year 1923, 1986. Mixed media on paper, 18" x 28 1." Collection of Jehan Mitchell, Austin.

ART EDUCATION / JULY 2000

to stylistically deconstruct their concern for technical achievement in art and thus it became increasingly abstract (p. 20).

In the deconstruction process artists focused on the exploration of art elements such as color, light, shape, and form, much as scientists

Growth in Popularity Based on this foundation it is

clear that the concept of self- taught artists has an emerging history. Earlier mainstream artists admired and learned from primitive and child artists. Our concern for and understanding of folk, multicultural, outsider and self- taught artists is relatively new in comparison with the entire body of Western art historical knowledge. Here are some possible explanations for the growing interest in self-taught artists and their art.

1. Shift from Modernism to Postmodernism. From the artists' point of view, Modem artists believed strongly in change and development. They wanted art to be unique and creative. Change was most often Consuelo Gonzalez Amerzcua, Prin considered progressive and c. 1970. Black and Colored ballpoin good. Once art became totally 32 x 19." Cavin-Morris, Inc., New ' devoid of outside references, Postmodem artists juxtaposed new and old images, styles, and concepts from many subcultures to create new humanistic forms of art.

2. Skill and ingenuity. Casual viewers might be drawn to the work of self-taught artists because they appreciate the skill and ingenuity required of those with little formal training and contact with mainstream artists. Some viewers may simply want to understand how others survive without the latest technological conveniences and headaches of the modem world.

3. Search for a sense of place. With the possibility of virtually being in many locations simultaneously, some people are searching for a sense of place. With increasing amounts of education and technology, some individuals realize that they know more about the art of distant cultures than they do about the art in their immediate communities. Some may ponder the work of self-taught artists to learn more about their surrounding environments.

4. Institutional reevaluation. Beyond learning about community, the art of self-taught artists is important today because art professionals are reevaluating their missions and making efforts to be more inclusive of diverse communities. In an interdisciplinary, multicultural world, the well being of one group is dependent on others. Like artists, some museum curators may want to reach wider audiences and be more

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democratic by including the exhibition of multicultural, folk, and self-taught artists.

Why Learn About Self-TaughtArtists? The growth in popularity of self-taught

artists reveals clues as to why learning about these art makers is important. The need to recognize new ideas, discover metaphorical roots, understand new | "worlds of art," discover a sense of place, and expand understanding provides ample reasons to learn from the art of self- taught artists.

In 1985 when Grieder wrote about Post-modem art, he surmised that art education was in large measure associated with the Modem art movement. Art, for Modernists, was most important as psychological expression. The influential theories of Freud and Jung directed our attention to certain assumed to be universal psychological aspects of art, and at the same time ignored others.

veral IM^

(pg Both artists and art educators admired )eral (Spring), child art because it was seen as coming ien on poster-board, from the unconscious. Art was considered

a universal language that all could understand without reference to cultural influences.

Today we realize that art is both an aesthetic and cultural phenomenon and only by understanding various cultures can we know about their art. We begin to realize that art is not a universal language. The Postmodem theory of art stresses that art is a cultural form of expression and to understand it one needs to know how it functions in different environments.

It is interesting to note parallels between the developing canon of art and the concurrent philosophy of art education. When Modem artists were learning from children, art educa- tion philosophy revered the natural development of the child and anticipated that "instruction" would foster personal develop- ment and artistic expression. Teachers were reluctant to present the work of adult artists while teaching art to students.

Later, as art acknowledged its past, art teachers were encouraged to teach their students about art history, aesthetics, and criticism. Art education became less about self- expression and more about the recognition and appreciation of noted artists and art theories.

Today we see a developing interest in the art of many cultu- ral and gender groups as well as self-taught artists. Currently, many art educators are introducing such art to students and anticipating that they will become aware of the many worlds of art instead of a limited dominant movement. The art of self- taught artists adds diversity to the chorus of art voices.

JULY 2000 / ART EDUCATION

John Milkovisch, Beer Can House,

Houston, TX.

The Postmodern theory of art stresses that art is a cultural form of expression and to understand it one needs to know how it functions in different environments.

Art educators (McFee, 1998; Neperud, 1995) advocated the study of folk, multicultural, and community- based artists. McFee and Neperud were interested in inclusion and they wanted students to understand the relation between artists, cultures, and contexts. While it is a good idea to learn about the art of many distinct cultures, it is sometimes difficult to do so since we tend to look at art from our own perspectives and frames of reference. Some anthropologists would argue that to truly learn about another's culture and art, one should take on the qualities and perspectives of a native. Learning about cultures is difficult if only picture books are available. Related cultural information is helpful and primary source information is even better.

To begin to understand the process of learning about relationships between art and culture, students should start with the self-taught artists in their communities as some educators (Delacruz, 1999; Jones, in press; Krug & Parker, 1998-99; McNeill & Zeigler, 1999, Ulbricht, 1976) have done and Lippard (1997) seems to advocate in her book, The Lure of the Local. Lippard indicates that she has spent a great deal of time looking at art in many places but less time looking at art in her own community. What Can Be Learned?

In the past century interest in child art had an effect on both art and art education. With the increased interest in self-taught artists,-one wonders how it

will affect the teaching of art in the future. The following are some concepts that students can learn from the study of self-taught artists.

1. By studying the art of self-taught artists, students will understand that there are many "worlds of art" and the study of such artists will help to broaden their definitions of art. In an earlier study (Ulbricht, 1976), it was found that high school students could easily name many local self-taught artists. Today with enhanced mobility, communications, and discipline- centered art training, students may be inclined to take for granted the imagery of self-taught artists. Study of local artists should teach students that art which resides beyond most museums is of value.

2. Students will learn that there are many functions of art such as documentation, sublimation, entertainment, self-objectification, and making special, which are often not presently emphasized in art education. By talking with self-taught artists, students can learn how art functions for artists and public in the community. For some, art may be a catalyst that promotes positive discussion and helps bind people together.

3. Students will understand how self- taught artists use common everyday materials and techniques to make art. Unlike many contemporary artists who purchase new art materials to make original objects, self-taught artists often use old objects, discarded items, or

unconventional materials in their art making. Fences made from bedposts, mosaics made from broken dishes, and luminaries constructed from milk jugs are examples.

4. Students will recognize how intensity, spirit, and honesty are important in art making and how artists can survive outside recognized institutions and without professional affiliations. Living away from large art centers can give artists freedom to work on their own and the ability to interact with individual communities. In the end, each artist is a local artist somewhere, rooted in a community he or she calls home.

5. Study of self-taught artists may teach students that artists are often accessible, regular human beings, as

Eddie Arning, Untitled (Texas Windmill), n.d., 1960s. Wax crayon on paper, 30"x23." Blanton Museum of Art, The University of Texas at Austin.

ART EDUCATION / JULY 2000

Xmeah Shaela'Reel, AngryAngels, 1996. Acrylic, glitter, and varnish on plywood, 49 x 49." Webb Gallery, Waxahachie, TX.

opposed to the mythological super- human, god-like figures often associated with major art historical periods and works of art.

6. Students will learn more about their local cultures by studying self- taught artists. Through the stories told by artists, students will hear personal interpretations of what may seem like the ordinary. In a world where strangers have difficulty speaking to one another, intergenerational communication about art could be a beneficial result of inquiry about the art of local self-taught artists.

7. The study of self-taught artists may make it easier and more meaningful to study art in distant cultures. Having studied art in a local culture will give students an openness to new frames of reference for future study. Conclusions

Similarities and differences appear when comparing primitive, child and self-taught art and artists. Initially each category was not recognized. Early on, primitive and child art were appreciated for their pure fundamental characteristics. Primitive and folk art were eventually recognized as the work of skillful people from specific cultures. Child art had its influences too, in the form of nurture and nature, and untrained child artists did not stay that way for long.

When compared with primitive and child artists, adult self-taught artists are revered because they are able to work in relative isolation from mainstream dialogues. Many self-taught artists do

not initially think of themselves as artists and often they do not aspire to be famous. They remind people of a time devoid of technological innovations and mass communication. They use others' discards as materials to make new objects.

Although the art of self-taught artists should be appreciated for its unique qualities, it should also be noted that such art is having an impact on the work of many postmodern artists who want to

make art that portrays the plight of humans in a contemporary society. Artists have found that self-taught artist images are direct, spontaneous, and communicate with the public. Self- taught artists should be studied because they represent a unique perspective, and their art is captivating, authentic, accessible, and give students an opportunity to see clear connections between context, culture, and the artist.

J. Ulbricht is VisualArt Studies/Art Education Division Chair, Department of Art and Art History, The University of Texas atAustin.

NOTES lCorrespondence concerning this article should be addressed to the author at: Department of Art and Art History, University of Texas at Austin, 3.402 Art Building, 23rd and San Jacinto, Austin, Texas 78712-1104. 2Fred Wilson is an installation artist of African American and Caribbean ancestry who deconstructs and reconstructs the content of museums. In his work he juxtaposes cultural/historical artifacts to unmask the biases and the motivations of those who made them. Wilson constructed his best-known installation "Mining the Museum," at the Maryland Historical Society, in Baltimore, Maryland and it was on exhibition from April 3, 1992 to February 28, 1993. 3Coco Fusco is a writer and interdisciplinary artist. She looks at art and society from multiple cultural and gender perspectives in her lectures, performances, essays, and curated programs throughout the world. Her work helps viewers, readers, and participants understand their biases and stereotypical predispositions. In 1995, Fusco published her collection of essays, English is Broken Here:

Notes on Cultural Fusion in the Americas, New York: The New Press.

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Danto, A. (1998). The art world and its outsiders. In Museum of American Folk Art, Self-taught artists of the 20th century (pp. 18-27). New York: Museum of American Folk Art.

Delacruz, E. (1999). Taking a walk on the wild side with folk artist Jack Barker. Art Education, 52(1), 46-52.

Fineberg, J. (Ed.). (1997). The innocent eye. Princeton, NJ: Princeton University Press.

Grieder, T. (1985). A Post-modern theory of art education. Art Education, 38(1), 6-8.

Hall, M., & Metcalf, E. (Eds.). (1994). The artist outsider. Washington, DC: Smithsonian.

Jones, J. (in press). Personal histories of artists who assisted prominent self-taught artists. In D. Blandy, P. Bolin, & K Congdon (Eds.), Histories of community based art education. Reston, VA: National Art Education Association.

Kaprow, A. (1993). Essays on the blurring of art and life. Berkeley, CA. University of California Press.

Krug, D., & Parker, A. (1998-99, Winter). Power on! The fantastic environment of Dr. Evermor. Raw Vision, 26-31.

Lippard, L. (1997). The lure of the local. New York: The New Press.

McFee, J. (1998). Cultural diversity and the structure and practice of art education. Reston, VA- National Art Education Association.

McNeill, P., & Zeigler, N. (1999, March). In my backyard: Howard Finster's sidewalks. Paper presented at a meeting of the National Art Education Association, Washington, DC.

Neperud, R. (Ed.). (1995). Context, content, and community in art education. New York: Teachers College Press.

Ulbricht, J. (1976). Cultural art symbols and related behaviors in a small Midwestern town. Dissertation Abstracts International, 37(5), 2586A (University Microfilms No. AAT76-26345).

SLIDES All visuals courtesy of Lynne Adele, Curator, Spirited Journeys, Jack S. Blanton Museum of Art, The University of Texas at Austin.

JULY 2000 / ART EDUCATION