In 2024, there has been a significant rise in the presence of self-taught artists in museums, galleries, and art fairs. These artists are gaining attention from collectors, art dealers, and educators, challenging the traditional definition of an „artist.“ One example is the Brazilian self-taught artist Madalena Santos Reinbolt, who is the focus of a retrospective exhibition at the Museu de Arte de São Paulo. These artists play a crucial role in reevaluating artistic heritage and the concept of the masterpiece.
Marlon Mullen’s exhibition at the Museum of Modern Art in New York highlights the institution’s historical commitment to art practices outside the mainstream. The exhibition features paintings inspired by art publications and raises questions about artistic training and peer systems. Another exhibition, „Janet Sobel: All-Over,“ at The Menil in Houston, focuses on the abstract canvases created by the Ukrainian-born artist in the 1940s.
Specialized museums like the Collection de l’Art Brut in Lausanne continue to explore and preserve the works of artists who have been overlooked. The museum’s retrospective of Uruguayan artist Magali Herrera showcases her unique approach to art creation. The San Francisco Museum of Modern Art also celebrates artists with developmental disabilities through the Creative Growth exhibition.
Three artists who cultivated ties with the spirit world guided the art world in 2024, including Melvin Way and Madge Gill. Additionally, arte popular from Brazil gained global recognition in 2024, reflecting the influence of Indigenous and Black cultures on Brazilian art. Die kulturelle Produktion von marginalisierten Gruppen wurde als Quelle zur Gestaltung nationaler Identität und als Modell zur Befreiung von europäischen Traditionen geschätzt. Die São Paulo Biennale des letzten Jahres präsentierte exquisite Beispiele von Bispo do Rosario und Aurora Cursino dos Santos. Die diesjährige Venedig Biennale, kuratiert von MASP’s Adriano Pedrosa, zeigte Werke von Rubem Valentim und Künstlern aus dem Yanomami-Indigenengebiet.
In der Zwischenzeit brachten Galeristen kühne Arte-populär-Werke zu Kunstmessen im Jahr 2024. Auf der Armory waren Werke von Hélio Melo, dank Almeida & Dale, und José Antonio da Silva, dank Galeria Estação’s Armory-Stand zu sehen (wir warten ungeduldig auf seine Retrospektive 2025 im Musée de Grenoble). Auf der Art Basel Miami stachen Werke von José Adário, Chico da Silva und Heitor dos Prazeres am Stand von Galatea hervor, sowie Maria Lira bei Gomide & Co. Und David Zwirner brachte nicht nur Werke von Amadeo Luciano Lorenzato zu verschiedenen Messen, sondern veranstaltete auch eine Einzelausstellung in New York.