an exhibition at the American Folk Art Museum, New York, February 25–May 18, 2003, and the Milwaukee Art Museum, October 24, 2003–January 11, 2004
American Folk Art Museum/Princeton University Press, 111 pp., $29.95
BOOKS DRAWN ON FOR THIS REVIEW
University of Nebraska Press, 131 pp., $60.00
Hayward Gallery/University of California Press, 119 pp., $39.95 (paper)
Princeton University Press,416 pp., $49.95 (paper)
The artwork of men and women who spent much of their lives in mental institutions, or living isolated and shut away at the fringes of society, has become increasingly visible in the last few decades, owing in part to the influence of conceptual art. Put most simply, conceptual art, which has conditioned so much of how we now look and think in galleries and museums, is about taking in a given artwork in two ways simultaneously: as an entity in itself and as a symbol of its maker's intentions. Suggesting that the 'real' art remains in its maker's mind, and that what we see before us is a remnant of a thought process, conceptual art is in some measure about disembodiment and ghost-liness. And it may have helped set the stage for our appreciating the drawings, paintings, or sculptural objects—whether showing worlds full of incongruously related figures, or strange patterns of words and numbers—by people whose full conscious awareness of what they were doing will remain forever mysterious.
Review, 3535 words
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