agrrr

oo kkhere is a little rant y in the hell do they make a work for  people who cant spell good soo why make a word that is hard to spell relly dyselxic or something like that why do that it just not nice oo yh come on and spelly what you are thanks guy that is soo nice of you arr it annoys me soo very much  :( grummpy face a grrr

billy childish

i like how it is a very simple and child like and has alot of colour with in the compostion and i is useing his own past wiith in the composition with the naval mark on the caritures
wow i only just relised that this picture is about that figer suck off the other guy and that is intresting and quite hidden untill u look closer to it and i find that really intresting and for some kind of reason i cant stop looking at it lol.

and i like all the novels that he has writen because it is basicle say why in the hell do i need to come up with spell check when it is right in my head and this is how thing are spelt to me.
 i cant find a picture of his novel.

billy childish

http://www.billychildish.com/bio.html

A cult figure in America, Europe and Japan, Billy Childish is by far the most prolific painter,

poet, and song-writer of his generation. In a twenty year period he has published over 40

collections of his poetry, recorded over 100 full-length independent LP’s and produced over

2000 paintings.

Born in 1959 in Chatham, Kent. Billy Childish left Secondary education at 16 an

undiagnosed dyslexic. Refused an interview at the local art school he entered the Naval

Dockyard at Chatham as an apprentice stonemason. During the following six months (the

artist’s only prolonged period of employment), he produced some six hundred drawings in

‘the tea huts of hell. On the basis of this work he was accepted into St Martin’s School of Art

to study painting. However, his acceptance was short-lived and before completing the

course he was expelled for his outspokenness and unorthodox working methods. With no

qualifications and no job prospects Childish then spent some 12 years ‘painting on the dole’,

developing his own highly personal writing style and producing his art independently.

My name is Billy Childish. I was diagnosed dyslexic when I was 28.

I have published 30 collections of poetry and 2 novels. I have made about 100 independent

LP records and painted over 2000 paintings. When I was 17 I had a bank account under the

name of Kurt Schwitters. I lived on the dole for 15 years.

 

I am self taught.

I do not like fashion culture.

I do not hate anyone.

both of Mark Scott-Wood and David Kefford use the outside /raw art look with in there work

oo kk Mark Scott-Wood work:

oo kk well this is a very natureal way of doing signs and it work very well for mark and his own work plus it look like a child hs done it and that is like his mentality and the way he is within his own work. i like how easy it is to read this peice and the background keeps me looking at it for a longer time then when i have finshed reading the message.


i like this piece because it uses very simple thing like box tape and boxes and mushrooms lol it is just funny how he chooses his marterails and some how it look very intresting in it self and i do know that the legs on top of the box is his own and that is is quite similer to my work but with less colour :) but just on the box it will keep my eye on it because it has lots of line and a lot of structure with the box and tghe tape it make it more stuctured but the tape also make it chaotic because it is randomly place on to the box like there has been no care put in to constructing it, then you come to the the mushrooms and these have been placed very organside in a circle and he has alson use  different colours to make the circle soo i have the feeling that the box brown is leaking on to the mushroom to give it that colour  soo just in that bit there is the structure of the circle and the chaotic of the different colour but then again some my say that, that action is in it self is a structor. all i have to think about the legs now and they are made out od box tape and is is in the stucture of legs and the chaos part of that is that it has been made out of a weak maretail. but then i look at the colour of the tape and it carries on thought the whole sculpture a brown and very inductiral type look to it and it is like it he has been in a box factory and gotten turned in to a box him self. and if u flip the sculpture around it look like a stick man with a really big head :)


oo kk now with David Kefford:


David Kefford is a very surgestive  artist and well this one has the look of a very tall person lol no i doesn't i look like a dick and i like how he uses maretail that he fineds and being them to life again. i like the fire gards at the the bottom of this structure it is quite surgestive saying that now i have looked at it for abit it look like a space rocket :) that is some of my childish thought comeing there and it also look like he as used a pipe or some thing long and coverd it in clingfilm and tape and it is a very thrown 2gether piece of work but it will alway make me giggle every time i see it.


well let me see it is funny in my head it look like to me 2 people one on the chair and one kneeling on the floor and it is brightly colourd and i is tied 2geatherto keep it in one place i really don t know wot to say about this piece of work just that i klike it and i like his work and that it is very firguretive and it make me giggle all the time i see it.

raw astetics

ok well the raw look is basicle where it looks rough and basic but it still has the intulect abouot it well that is what i think. it is getting things and puttting them togeather and leaving it very raw soo it is not a pristine and clean cut  it is where you can see the materials it is made out off.

outsider art

Outsider art

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 insane-asylum inmates.^[1]
While Dubuffet's term is quite specific, the English term "outsider art" is often applied more broadly, to include certain self-taught or Naïve art makers who were never institutionalized. 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.
Outsider art has emerged as a successful art marketing category (an annual Outsider Art Fair has taken place in New York since 1993). The term is sometimes misapplied as a catch-all marketing label for art created by people outside the mainstream "art world," regardless of their circumstances or the content of their work.

Art of the insane

Main article: Creativity and mental illness

Interest in the art of insane asylum inmates had begun to grow in the 1920s. In 1921 Dr. Walter Morgenthaler published his book Ein Geisteskranker als Künstler (A Psychiatric Patient as Artist) on 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 is an illustrated epic of 45 volumes in which he narrates his own imaginary life story. With 25,000 pages, 1,600 illustrations, and 1,500 collages, it is a monumental work. He 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 Foundation in 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.
People with some artistic training and well-established artists are not immune from mental illness and may also be institutionalised. 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 Hospital where he was treated for schizophrenia.^[2] In hospital he painted, producing "The Maze", a dark depiction of his tortured youth.^[3] This 1953 work was used as the cover of the 1981 Van Halen rock album Fair Warning. His experience in the hospital was documented in the LIFE Science Library book The Mind, published in 1965.

 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 in Lausanne, Switzerland.
Dubuffet characterized art brut as:

"Those works created from solitude and from pure and authentic creative impulses – where the worries 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.

 The cultural context of the outsider art category

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.

Vocabulary

Two images of Joe Minter's African Village in America, a half-acre visionary art environment in Birmingham, Alabama. Scenes include African warriors watching their descendants’ struggles in Alabama, tributes to black scientists and military leaders, recreations of the epic civil rights confrontations in Alabama, and biblical scenes.

A number of terms are used to describe art that is loosely understood as "outside" of official culture. Definitions of these terms vary, and there are areas of overlap between them. 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 art 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 Art based 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 as Neue 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 some interaction with mainstream culture. They may be doing art part-time for instance. The expression was coined by Dubuffet too; strictly speaking it refers only to a special part of the Collection de l'art brut.
• Visionary environments: Buildings and sculpture parks built by visionary artists - range from decorated houses, to large areas incorporating a large number of individual sculptures with a tightly associated theme. Examples include Watts Towers by Simon Rodia, Buddha Park and Sala Keoku by Bunleua Sulilat, and The Palais Ideal by Ferdinand Cheval.

compitional grid

http://www.cgl.uwaterloo.ca/~ecdfourq/composition/CAE2008Abstract.html

need to check this out

this is the grid that i will be using for my own composition and hopefull i can created the stucture with in my own work and then have the chaos in it bcuz it is how i work :) i just hope that this works 

and the 'Assumption of the Virgin' by Titain

 oo kk this that the angles that the 3 split up ward and i is related to my work quite alot