Claus Mueller

The Outsider Art Fair (OAF) returned for its 26th year from January 18-21 at New York’s Metropolitan Pavilion, hosting 63 international exhibitors presenting 60 galleries with works from artists expanding creative boundaries. Nine new exhibitors joined the fair including galleries from Beijing China, Seoul South Korea, and Tokyo Japan expanding the international presence of the fair. The program included presentations on “The Raw and the Cooked” with several multimedia and multidisciplinary artists, a panel discussion on the relationship between outsider art environments and installation art at the Ace Hotel, also the venue for two additional exhibitions by Ike Morgan and Harley Spiller, and a curated space at the Metropolitan pavilion, “Responding to Pasaquan”, an installation of alternative reality visionary art by Eddie Owens Martin organized by Saya Wooolfalk. An important and illuminating segment of this year’s fair was the week long exhibition and one day auction “Beyond Imagination: Outsider and Vernacular Art” at Christie’s that included a large number of outsider pieces with estimated prices frequently well above those charged at the Outsider Art Fair. The opening night of the fair attracted over 2,500 guests, an all-time record for first time attendance, an audience which was attracted to the works of ‘self-taught outsider’ artists which is a designation commonly used in the United States. Numerous representatives from museums, auction houses and galleries attended the fair. According to its organizers the fair opened with strong sales.

As distinct from traditional art, outsider art covers a multitude of approaches which are not bound by established art forms and most of the work presented is not [yet] subject to commercial considerations. The artists are not wedded to traditional approaches, academic preconceptions, and formal training. Their art is frequently executed in isolation by individuals who may be retired or have jobs not related at all to the arts, live by themselves or live in institutions. It is difficult to find at the Outsider Art Fair a common denominator for the works presented or for the artists. As the dealer Randall Morris observes about the shifting orientation of collectors in the US, starting from folk art, they developed an interest in art brut and outsider art and are now crossover collectors who moved from contemporary art to self-taught art. It is no wonder that the artists’ work is refreshing, has no respect for taboos and boundaries and can range from banality and the obvious to sophistication and reflexive articulations. It can be raw art as the growing popularity of folk art from developing countries at the fair shows or found art from unknown origins and craftsmen. Though outsider art cannot be subsumed as an official part of the institutional professional art circuit, some outsider art as shown by its inclusion in Christie’s catalog has been entering for numerous years the collection of museums and individuals and is traded in the art market. Sotheby’s held its first exhibition of outsider art earlier this year at its London auction house including  “…pieces by artists working outside the traditional art world including some who are self-taught and some who have social, physical or mental health problems”.

The Outsider Art Fair and the Affordable Art Fair (AAF) provide an easy access to original, inspiring and creative art work. More importantly, they meet their objective of establishing a link between the audience and art by presenting art works that can be acquired at an affordable price though some of the works at the OAFA had price tags in the $50,000.00 range as did numerous in the Christie’s program.  Both art fairs have been expanding their size and the audience and enjoyed since their inception commercial and critical success. OAF was established as the first fair in 1993 and expanded in 2012 tripling the audience attendance and opened in Paris in 2014. Participating individuals and galleries can set the prices charged for their art works. The Affordable Art Fair was launched in 1999 and stages each year 13 fairs in 10 cities worldwide. To date, they have had an attendance of 2.3 million and sold over $425 million worth of art. As a global brand AAF is involved in philanthropic activities providing funds for art sectors and local charities. As distinct from the Outsider Art Fair the price range that can be set by exhibitors for their art work is in its New York edition restricted and cannot exceed $10,000. Apparently demand for exhibition space is larger than the supply the fairs can provide.

Claus Mueller   filmexchange@gmail.com

     THE BORED QUEEN, acquired by the dealer Joshua Lowenfels in the sixties is a 4.5 high statue made by an unknown artist. Clad by a velvet basque made of cotton, rayon and silk the queen has a pig’s head and hands but human breasts adorned with jewelry and feet missing toes. It was for sale for $12,000 but did not find a buyer though it is an outstanding piece of art.