Contributed by Bill Arning / “Self Made: A Century of Inventing,” now on view at the American Folk Art Museum, asks a thorny question: Why does the descriptive term “self-taught” continue to resonate so strongly with dedicated fans of folk and outsider art? At its most basic, the term describes artists who did not attend traditional art schools. To be sure, these institutions embody uneasy contradictions. Tasked with encouraging free expression, they simultaneously prepare artists to attract patronage by targeting the moneyed class. But at their best, they embed young artists in an ongoing, object-based cultural conversation. So why are we so drawn to work that emerges outside their influence?