Lynne Cooke – författare

Since the last century, the relationship between vanguard and self-taught artists has been defined by contradiction. The established art world has been quick to make clear distinctions between trained and untrained artists, yet at the same time it has been fascinated by outliers whom it draws selectively and intermittently into its orbits. For a new exhibition launching at the National Gallery of Art, curator Lynne Cooke explores shifting conceptualizations of the American outlier across the twentieth century, drawing on the inherent sociality of the exhibition in her installation of these works. This companion catalog, Outliers and American Vanguard Art, offers a fantastic opportunity to consider works by schooled and self-taught creators in relation to each other and defined by historical circumstance. The art works in Outliers and American Vanguard Art come from three distinct periods when the intersections between mainstream and outlier artists were most dynamic and productive, ushering in exhibitions of art based on various degrees of co-existence, inclusion, and assimilation.Works by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican are set in conversation with a range of works by such self-taught artists as Horace Pippin, Janet Sobel, and Henry Darger. Cooke also examines a recent increase of radically expressive work that challenges what it means to be an outlier today. She reveals how these distinctions have been freighted with a particularly American point of view as she investigates our assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. Outliers and American Vanguard Art is the most comprehensive show ever to examine outliers in dialogue with their established peers. It is sure to inspire vigorous conversation about how artists and the work they make are represented.

Richly illustrated volume exploring the inseparable histories of modernist abstraction and twentieth-century textiles.  Published on the occasion of an exhibition curated by Lynne Cooke, Woven Histories offers a fresh and authoritative look at textiles—particularly weaving—as a major force in the evolution of abstraction. This richly illustrated volume features more than fifty creators whose work crosses divisions and hierarchies formerly segregating the fine arts from the applied arts and handicrafts.  Woven Histories begins in the early twentieth century, rooting the abstract art of Sophie Taeuber-Arp in the applied arts and handicrafts, then features the interdisciplinary practices of Anni Albers, Sonia Delaunay, Liubov Popova, Varvara Stepanova, and others who sought to effect social change through fabrics for furnishings and apparel. Over the century, the intersection of textiles and abstraction engaged artists from Ed Rossbach, Kay Sekimachi, Ruth Asawa, Lenore Tawney, and Sheila Hicks to Rosemarie Trockel, Ellen Lesperance, Jeffrey Gibson, Igshaan Adams, and Liz Collins, whose textile-based works continue to shape this discourse. Including essays by distinguished art historians as well as reflections from contemporary artists, this ambitious project traces the intertwined histories of textiles and abstraction as vehicles through which artists probe urgent issues of our time.

A profound examination of the complex constructs that have kept “outsider” and self-taught artists on the margins of the mainstreamThe artists in Boundary Trouble in American Vanguard Art defy binary constructs of insider and outsider. Some are credentialed professionals, others are self-identified amateurs, and yet others are indifferent to categorical classification systems. These shifting identifications and concepts are examined in 16 essays, challenging established narratives of American and modernist art histories. The book considers the work of Romare Bearden, James Castle, Minnie Evans, Marisol, Betye Saar, Rosie Lee Tompkins, and more. Rooted in intersectional disciplinary studies that draw on race, queer, and feminist scholarship, these groundbreaking perspectives argue for expanding how we engage with works and makers that are routinely marginalized within mainstream visual culture. These essays make a compelling case for the necessity of a level playing field for all artists, trained and untrained, where difference is both recognized and embraced.Published by the National Gallery of Art, Center for Advanced Study in the Visual Arts/Distributed by Yale University Press

The definitive book on a creative force who continues to influence sculpture and installation artJessica Stockholder has long broken down the boundaries between painting, sculpture, and architecture to explore the body in social and cultural space - using found objects intertwined with profusions of vivid colours. This revised, updated edition spotlights the extraordinary evolution of her career, and examines the pivotal role she has played in shaping some of the most fundamental ideas around which contemporary sculpture and painting revolve today.

The Corcoran Gallery of Art was the first institution in the United States created specifically as an art museum. Founded in Washington, D.C., in 1869, the Corcoran remained a vital part of the city for nearly 150 years. After the museum closed in 2014, the National Gallery of Art took responsibility for the collection, acquiring over 9,000 of its works. Ranging from antiquities to contemporary works, the broad range of European and American paintings, sculpture, decorative arts, prints, drawings, and photographs in the Corcoran Collection has immeasurably enriched the National Gallery’s holdings. This beautifully illustrated volume is the first to examine the legacy of the collection and its impact on the study and appreciation of art in the United States.