One of the most marvelous aspects of the Outsider Art Fair is the way in which much the work displayed is steeped in stories.
Art’s uplifting power is unmistakably real; today, the works of the most original autodidacts feel more compelling than ever.
The 2017 edition of New York’s Outsider Art Fair will mark the 25th anniversary of what has become one of the international art market’s most distinctive, lively, and sometimes contentious forums for the presentation of often label-defying forms of artistic expression.
Fair attendees, invited guests, and members of the public are invited to recite quotes from the President’s speeches, interviews, and other appearances.
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.
The 24th annual Outsider Art Fair opens in New York on January 21, and never before has the scope of what might qualify as — or, more precisely, of what is being called — outsider art seemed so diverse or vast.
Nowhere can you feel the silliness (and yet cloying realness) of the term “outsider art” more distinctly than at the Outsider Art Fair, which, by its very nature, is an insiders’ affair.
After this year’s Outsider Art Fair, a Frieze Week corollary held at 548 West 22nd Street in Chelsea, closed on Sunday, the artist Mark Flood began taking over the space for an “Insider Art Fair” that opens today.
Has the outsider art field become a victim of its own success? If so, it is a peculiar “victim,” and its success must be measured by standards that go beyond the money-obsessed art world’s primary criterion for determining aesthetic value — the price tag that any specific work happens to sport at any given time.