The nub of Steene's argument is that their work, viewed through the prism of their condition, is unjustly dismissed as a therapy by-product, discounting its artistic creativity and creating barriers to fair market valuation and access.
The 32 living artists and dozen or so historical exemplars presented are a disparate company working in diverse styles and materials, reflecting the catch-all nature of the outsider label and Steene's thesis that they belong to a creative spectrum rather than a world apart.
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