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See below for a selection of the latest books from Naive art category. Presented with a red border are the Naive art books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Naive art books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
Bitterkomix 16 is a celebration of 21 years of the brash, daring, provocative art of Anton Kannemeyer, known by the pseudonym Joe Dog. In this latest collection, Kannemeyer unflinchingly explores the vigorous debates around race that enliven and shadow daily life in South Africa. Adopting Herge's Tintin as the archetypal figure of the white settler, Kannemeyer fearlessly tackles the hypocrisy and racist attitudes of white society as well as the greed and corruption of Africa's new political elite. Cutting-edge graphics, irony, and the destruction of taboos meet in this visually arresting, thought-provoking collection.
On the front page of the New York Times Book Review, artist Red Grooms once exclaimed that grassroots artists are so interesting I can scarcely keep them out of my dreams--visionaries who turned their visions into art on a grand scale even though they had no training in art. In this lavishly illustrated volume, the authors illuminate and celebrate these backyard visionaries and the remarkable works they've created in the Midwest. Grassroots art (sometimes referred to as outsider art ) has been variously described as eccentric, unschooled, self-taught, primitive, and raw. Such art is characterized by the use of common, unconventional, or castoff materials; hodge-podge styles; ambitious scale; whimsical expression; and a creative impulse concerned more with the artist's own pleasure than with the critical reception of the work itself. The authors here focus on examples of grassroots art environments--which include sculptures, paintings, and assemblages--in Kansas, Nebraska, Iowa, Missouri, and Oklahoma. They reveal the special character and unexpected delights of works like Samuel P. Dinsmoor's world-famous Garden of Eden ; Claude Melton's quirky Nativity Rock Museum ; Ed Galloway's fabulous six-story Totem Pole honoring Native Americans; and Dave Woods's idiosyncratic creations refashioned from junk that most people would haul to the dump. Written by members of the Kansas Grassroots Art Association-the oldest organization in the country dedicated to preserving such sites--Backyard Visionaries describes the authors' personal experiences of the artists and their work as well as the artists' cultural contexts and influences. More than 150 photographs--many in color--capture their unusual creations, and a chapter on preservation tells how we can help maintain them. All in all, this is a fascinating tribute to a group of artists that we are only just beginning to understand and appreciate.
Exploring the masks of an African culture that were one of Picasso's primary influences. The We, whose name means 'men who easily forgive', live in the forests along the western border of the Ivory Coast. Theirs is regarded as a mask culture, as opposed to other societies that have none (such as the Ashanti in Ghana). The bold, striking sculpture on these masks ensured they would be among the first examples of African art to captivate Cubist artists in the West. These eye-opening, exuberant, phantasmagorical masks are astonishingly diverse and display a dazzling compositional inventiveness. They clearly also influenced the art of neighbouring peoples, to the extent that, far from being isolated in a remote corner of the jungle, this art has been identified as the keystone, the pivot around which all the art of the area revolves giving the lie to the notion that the lines drawn on maps by colonisers have any effect on the process of artistic creation. To which should be added a further crucial point: it is no exaggeration to speak of a mask culture, so abundant are they in each village, with a part to play in all community activities (legal, mystical, agricultural . . . ) and a role in all the stages of life. The nature of this dynamic, mobile art is completely different from the art of other peoples, where form suggests meaning and reveals the impact and the type of ceremony it is associated with; in the case of the We masks, form is never an indicator of category.
The International Red Cross and Red Crescent Museum houses an extraordinary collection of 'prisoners' objects'. These were made by prison inmates and presented to the ICRC delegates who visited them, as provided for by the Geneva Conventions. For over a century, these objects have borne mute witness to the numerous violent episodes that continue to ravage our planet, from Chile, Vietnam, Algeria and Yugoslavia, to Rwanda and Afghanistan. Made from simple materials - whatever comes to hand in a prison - these objects express the need to escape the world of the jailbird. As a Lebanese inmate puts it, 'Creating is a way of acquiring freedom of expression, it gives us a means to say what we think while everything we see around urges us to keep quiet and to forget who we are.' While some of these works touch us through their simplicity, others astonish us with their beauty or ingeniousness. Each bears the imprint of a personal story loaded with emotion, inviting us on a journey through time and collective history.
In this new book, Jonathan Christie pieces together the fragments of this charming, eccentric and elusive artist's life, gathering together the scraps of information that exist on him, along with an unprecedented amount of examples of his work-approximately 70-for the first time.
Difficult to categorize and branded as naive -art history had and still has a hard time with works by the great autodidacts: artists such as Henri Rousseau, Andre Bauchant, Morris Hirshfield, Bill Traylor, Alfred Wallis, or Seraphine Louis are far too often isolated in the light of an exotic primitivism, so to speak. Instead, the publication and the exhibition at the Museum Folkwang, since its founding the first museum worldwide devoted to modern art, surround their energy-laden works with key works from the modern era. It is not by chance that many of the autodidacts fascinated the established artists of today with their paintings and sculptures, and often sponsored them. From this perspective, even contemporaries such as Miroslav Tichy make a contribution to the development of art and are no longer merely its antagonists.
Alfred Wallis spent most of his life in the Cornish ports of Newlyn, Penzance and St Ives, and went to sea as a young man. His main occupation was as a dealer in marine supplies and he was in his seventies before he took up painting 'for company'. He sold his works for a few pence, and died in the poorhouse. Wallis is now recognised as one of the most original British artists of the twentieth century, the directness of his 'primitive' vision and the object-like quality of his paintings being highly valued. This book revises previous accounts of Wallis's life in the light of new research and traces the development of his painting over seventeen years. It also looks at the mythology that grew up around Wallis and at the sustained interest in the irascible eccentric whose work affected a generation of British artists.
The mysterious beauty of Punu masks and the artistic culture of Gabon are presented in a detailed and engaging book accompanied by numerous full-colour illustrations. Accompanying a major travelling exhibition, this ambitious volume showcases more than 4,000 years of Peruvian art in approximately 350 diverse, exciting works. A large selection of pre-Columbian treasures, along with masterpieces dating from the colonial era and striking modern paintings and sculptures produced during the first half of the twentieth century, offer new perspectives on the rich cultural identity of the country. In this richly illustrated reference book, more than twenty international contributors explore the mythologies and rituals of ancient Andean civilisations; their perpetuation, concealment, or hybridisation with Catholicism during the eighteenth and nineteenth centuries; and the rediscovery and valorisation of Peruvian popular traditions and faiths in the twentieth century.