Joe Coleman is a hyper-realist who crams every picture with data, producing an image of all-over intensity that is at once a scrumptious meal and hard to stomach.
A 1993 assemblage by Thornton Dial exemplifies exactly why he belongs in the Metropolitan Museum of Art’s 20th Century Modern and Contemporary galleries, without any caveats like “southern,” “folk,” or “outsider” typically assigned to the artist.
Melvin Way’s finely crafted, befuddling works demand to be understood on their own terms. But just what are they?
This year, the visions at the Independent Art Fair were multiple, with some galleries dedicating their booths to outsider and unknown artists, as well as work that is a bit more playful.
Andrew Edlin Gallery is exhibiting the wood carvings of the late John Byam, a self-taught artist who transformed his daydreams into sculpture.
Transforming seven rooms at Andrew Edlin Galley, terence koh: bee chapel perplexes from its start.
Now in its 24th edition, the Outsider Art Fair has found a new home this year at the Metropolitan Pavilion, currently filled with the fair’s largest number of exhibitors yet.
‘Tis the season of reduced hours and low-stakes group shows at most Manhattan galleries, but two spaces in Chelsea are bucking the trend with summer exhibitions of large-scale murals.
Join me as I wander the streets of Chelsea and bring you the first in an as-yet-only-theoretical series of gallery pen reviews.
Victor Moscoso picked up color theories while studying with Josef Albers at Yale University in the late 1950s, and soon turned that abstract harmony into a psychedelic friction.
Very few creations are as hard to pin down as those produced by the most original self-taught artists, who primarily make their art for themselves rather than for the market or the public.
If the so-called “greatest generation,” those that fought in World War II, have mostly passed on, their children, the pre-boomers born just before and during that conflict are still around.