Nonconformers

“[A] handsomely produced book. . . . A section on the self-taught architecture in grand structures by Sabato “Simon” Rodia, builder of the Watts Tower in Los Angeles, and Nek Chand Saini, creator of the Rock Garden in Chandigarh, India, gives welcome attention to constructed monumental projects that self-taught designers imagine but rarely build.”—David D’Arcy, Art Newspaper

“Featuring William Edmondson, Bill Traylor, Aloïse Corbaz and more, this book highlights marginalized artists.”—New York Times Book Review

“An essential addition to any discerning art lover’s collection. . . . An informative and important companion for art aficionados, budding curators and total novices alike.”—Vanity Fair London

“Slominski offers new insights here into the influence of artists such as Hilma af Klint on the development of modern art, and presents interviews with contemporary self-taught artists such as Mamadou Cissé.”—Apollo

“A fine survey of work by outsider artists. . . . [Lisa Slominski is a] perceptive critic.”—Michael Glover, The Tablet, “Best New Art Books”

“Hilma af Klint, the woman behind the abstract 1907 painting is just one art outsider who gets a more nuanced reappraisal in this fascinating new book.”—Artists & Illustrators, “Book of the Month”


“Nonconformers underlines the relevance of self-taught artists, be it aesthetic, spiritual, or practical. It’s a must read for those who wish to expand their knowledge of Art in totality.”—Dr. Joyce J. Scott, visual artist/MacArthur Fellow

“A provocative and meticulous study of over 60 self-taught artists from around the world. Even more importantly, it questions the history, includes essays from global experts, and redefines the entire genre.”—Iain Jackson, University of Liverpool

“The artist Lonnie Holley recently referred to himself as ‘self-taught . . . the same way Neil Armstrong might have described himself as a self-taught moon walker.’ Lisa Slominski’s new book Nonconformers approaches creativity with the same spirit—that the work of artists like Holley and others is expansive and without bounds. It points to a future where these artists lead the way, as they have all along.”—Annalise Flynn, independent art historian and curator