Bill Traylor’s drawings and paintings were not recognized by the art world until decades after his death in 1949.
One of the longest paintings ever created is an 1848 depiction of a “whaling voyage ’round the world” that stretches 1,275 feet — roughly the length of 14 blue whales, according to its holder, the New Bedford Whaling Museum.
In one of the drawings discovered in a well-worn album, fished out of the trash in 1970 by a teenager in Springfield, Missouri, a wide-eyed woman points to a bouquet of flowers below the words “ECTLECTRC PENCIL.”
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 term “Outsider Art,” coined in 1972 by writer Roger Cardinal, has plenty of critics.
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.
Prussian immigrant Charles A.A. Dellschau spent most of his life in Houston working as a butcher; when he retired in 1899 at the age of 68, he turned his attention skywards and devoted himself to an entirely different endeavor: designing airships and charting the development of flight.
Following India’s independence in 1947, architect Le Corbusier was recruited to design Chandigarh, the country’s first planned modern metropolis.
This week Boise, Idaho, took ownership of the late self-taught artist James Castle’s longtime home, which will be restored into a cultural facility commemorating his life and offering residency and exhibition space to local and national artists.
In the late 1970s, Loy Bowlin in McComb, Mississippi, styled himself as the “Original Rhinestone Cowboy.”
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.
In the first major retrospective of her sculptural bundles of yarn and found objects, the late Judith Scott is celebrated not just for having found a way to creatively express herself late in life, after being institutionalized with Down syndrome and undiagnosed deafness; instead, the Brooklyn Museum’s Judith Scott: Bound and Unbound honors her powerful, tactile acts of making.