INSIDER / OUTSIDER
The definition of Outsider Art is fraught with issues—as online trolls will attest—and, I will not attempt to define it here. However, to further confuse the issue, I will bring forth a few of what I would call “insider/outsider” artists such as Forrest Bess, Frank Overton Colbert, Ida Jones and John Roeder. Individuals that are hard to pigeonhole and overlap with Outsider, Folk, Self-taught, and schooled artists. Can an artist be an “outsider” if you they had some instruction, but have a minority’s perspective? Are all outsider artists self-taught? If they spent time in a mental institution are they automatically an “outsider?” Can one be an “outsider” if they were on the fringe of society, but then thrust into the New York gallery scene and continued to create art that was then for resale? As with most things, a case-by-case examination and identification of context is key to aiding any definition (if one must be so defined). In the following pages, we will present a number of artists and works of art that overlap, transition or fit by context into this insider/outsider scheme. In addition. we will have works by Dilmus Hall, George Morgan, Henry Speller, George Ohr, Eugene Andolsek, Henry Ray Clark and others. January 18-21, 2018. Metropolitan Pavilion, 125 W 18th St, New York, NY 10011
The definition of Outsider Art is fraught with issues—as online trolls will attest—and, I will not attempt to define it here. However, to further confuse the issue, I will bring forth a few of what I would call “insider/outsider” artists such as Forrest Bess, Frank Overton Colbert, Ida Jones and John Roeder. Individuals that are hard to pigeonhole and overlap with Outsider, Folk, Self-taught, and schooled artists.
Can an artist be an “outsider” if you they had some instruction, but have a minority’s perspective? Are all outsider artists self-taught? If they spent time in a mental institution are they automatically an “outsider?” Can one be an “outsider” if they were on the fringe of society, but then thrust into the New York gallery scene and continued to create art that was then for resale? As with most things, a case-by-case examination and identification of context is key to aiding any definition (if one must be so defined).
In the following pages, we will present a number of artists and works of art that overlap, transition or fit by context into this insider/outsider scheme. In addition. we will have works by Dilmus Hall, George Morgan, Henry Speller, George Ohr, Eugene Andolsek, Henry Ray Clark and others.
January 18-21, 2018.
Metropolitan Pavilion, 125 W 18th St, New York, NY 10011
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James Castle (1899-1977)<br />
Untitled<br />
Boise, Idaho<br />
Home Dairies Ice Cream card stock, pigment<br />
Size: 2 3/8" (h) x 1 1/2" (w)<br />
Provenance: J. Crist Gallery, Fleisher Ollman Gallery<br />
Castle was born deaf and had limited schooling, but from a<br />
young age he drew and made things with found materials—his<br />
drawings are often on scrap paper and composed of soot and<br />
spit.<br />
In the 1950’s a nephew, who was in art school, showed one of<br />
his instructors his uncle’s art and Castle was soon the subject of<br />
one person and group shows throughout<br />
the Pacific Northwest.<br />
Castle’s work is part of numerous<br />
museum collections and was the focus<br />
of, “James Castle: A Retrospective” at<br />
the Philadelphia Museum of Art in 2008.<br />
The 2013 Venice Biennale included<br />
eleven works by Castle in the feature<br />
exhibition The Encyclopedic Palace.<br />
Castle working his soot and spit<br />
drawings at his home in Garden<br />
Valley, Idaho. Photo: Magnolia<br />
Atlas.
![NEEDLE • KNIFE • TORCH [&] BRUSH](https://img.yumpu.com/55309753/1/190x219/needle-o-knife-o-torch-brush.jpg?quality=85)
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