In East Hampton, the modern artist’s former residence is emerging as an unexpected cultural hub.
Celebrating art made by autodidacts situated, by choice or circumstance, on the margins of culture and society.
While Susan Te Kahurangi King has never consciously worked in or against a fine art tradition, her work is surely original.
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.