From pimped cars and graffiti to extreme body art, ice sculpture and flash mobs, this book has them all
David Carrier and Joachim Pissarro
‘Art is not always things created by people who call themselves artists’ (Art critic, Barry Schwabsky). Wild Art is a visual exploration of everything and anything from outside the exclusive and rarefied spectrum of the ‘Art World’.
It presents a highly illustrated account of the most exciting examples of the vast multitude of ‘other’ art worlds – mostly left unmentioned within the professional art literature – that proliferate outside the boundaries: the art that most professionals – art critics, art historians, artists, auctioneers, collectors and dealers tend to ignore.
At its heart, this book raises the question of what constitutes 'art' by celebrating the artists and art forms that are usually ignored by the art establishment.
Respected art experts, Carrier and Pissarro have studied alternative and underground art forms and cultures for years and have compiled the ultimate collection of creative works to challenge and engage every reader’s perception of what is and isn’t art.
Size: 270 x 180 mm (10 5/8 x 7 1/8 in)
Pages: 480 pp
Illustrations: 350 illustrations
...a lot of things that can be called art that are far, far, far outside what you’d see in a gallery… Be warned: these images are addictive viewing.
- Dazed Digital
I'm blown away by Wild Art. Some of the images are so refreshing and startling that they help you look at the everyday world again renewed and invigorated. Joachim Pissarro and David Carrier have created a wonderful book.
- Jeff Koons
David Carrier is an American philosopher and art and culture critic. He was formerly Champney Family Professor, a post divided between Case Western Reserve University and the Cleveland Institute of Art, and prior to that a professor of philosophy at Carnegie Mellon University. He has written extensively on the history and philosophy of art writing, raising questions about the relativism of art writing in different eras by comparing texts written about the same artwork and analyzing changing styles of interpretation. His works include Principles of Art History Writing (1991), The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980s (1994), Museum Skepticism: A History of the Display of Art in Public Galleries (2006) and A World Art History and Its Objects (2009). He has written for Apollo, artcritical, ArtForum, the Brooklyn Rail and the Burlington Magazine.
Joachim Pissarro is currently the Bershad Professor of Art History and Director of the Hunter College Galleries at the City University of New York (CUNY). He was formerly a Curator in the Department of Painting and Sculpture at The Museum of Modern Art (MoMA) in New York. His teaching and writing presently focus on the challenges facing art history due to the unprecedented proliferation of art works, images, and visual data. His recent writings include the book Individualism and Inter-Subjectivity in Modernism: Two Case Studies of Artistic Interchanges: Camille Pissarro and Paul Cézanne: Robert Rauschenberg and Jasper Johns (2006) and the essay Joseph Beuys: Set Between One and All (2010). In 2012 he co-curated the exhibition Notations: The Cage Effect Today, at the Hunter College Times Square Gallery, organized to coincide with the centennial of John Cage’s birth.
Contents and Sections:
What is wild art?
Adorning the Self
All in Good Taste
Art Against Time
Making a Spectacle
The Big and Small of Art