THE HISTORY OF OUTSIDER ART

“Visionary Art,” “Art Brut,” “Art of the Insane,” “Outsider Art.” These, among others, are the labels that have developed over the years to categorize self-taught artists who work outside of the mainstream art world. The variety of terms used for a single collecting category may be off-putting, but these labels can provide insight to those who find themselves drawn to self-taught artwork that is exquisitely rendered, technically astute and yet sometimes highly disturbing.

Left: Morris Hirshfield, View, 1945. Oil on canvas. Courtesy Galerie St. Etienne, New York . (C) Estate of Morris Hirshfield. Right: Bill Traylor (American 1852? – 1949, Untitled (blue bird and animals), c. 1939-42, showcard color on cardboard, 15 x 9.25" Image courtesy of Luise Ross Gallery

One of the earliest and potentially most misleading labels applied to this category is “Art of the Insane,” a term resulting from early discovery of these artists by European psychiatrists working with mental patients in the 1920s. The term continued to be used until the 1940s when French painter Jean Dubuffet, an early collector and champion of these artists, coined the term “Art Brut” (or “raw art”) to describe their work. Though many were still resident in insane asylums, Dubuffet began to broaden the genre, encompassing those who were simply, “beyond the reach of received culture.” Motivated only by their need to produce art, these artists put forth their eccentric, personal visions and in doing so were unwittingly chosen as counterpoints to mainstream and academic art. Other early supporters of “Art Brut” included Picasso and Kandinsky, who believed that formal academic training corrupted artists, while self-taught artists represented a pure ideal and unencumbered vision.

In America, the field of Outsider Art stems from an early 20th century interest in American folk art and artifacts. Developing somewhat independently of their European counterparts, American self-taught artists gained legitimacy during the 1932 MoMA exhibition, American Folk Art: Art of the Common Man. In 1972, art critic Roger Cardinal’s book Outsider Art explored the art of unschooled artists and their eccentric yet refreshing output. The book further broadened the category defined by Jean Dubuffet and was a groundbreaking reaffirmation of his theories.

HENRY DARGER (1892-1973)

One of the most important American outsider artists is Henry Darger (1892-1973). His troubled childhood is thought to be the inspiration behind his artwork. His vivid depictions of seven little girls and their aggressors are at once harrowing and mysteriously brilliant.

Henry Darger, Untitled (recto/verso), n.d., pencil and watercolor on paper, 22 x 80 inches (55.9 x 203.2 cm)

Image Copyright Kiyoko Lerner, Courtesy Edlin Gallery, New York

Shortly before Darger’s death in 1972, his landlord, Nathan Lerner, retrieved from his apartment a 15,000-page collection of densely written text and several hundred long, scroll-like watercolors. Lerner, a photographer, immediately recognized the artistic merit of the drawings and prevented the artwork from being thrown out. With his wife, Lerner subsequently created the Nathan and Kiyoko Lerner Foundation and the Henry Darger Center.

The full title for the illustrated novel found in Darger’s apartment is The Story of the Vivian Girls, in what is Known as the Realms of the Unreal, of the Glandeco-Angelinnian War Storm, Caused by the Child Slave Rebellion. The discovery of Darger’s work is an opening into the mind of a true outsider artist. After spending most of his childhood in an orphanage, Darger lived as a recluse, supporting himself with a series of menial jobs. He is believed today to have been a functional schizophrenic, and his artwork seems to have been a form of therapy for him.

Darger’s work has been the subject of numerous exhibitions and retrospectives with prices escalating dramatically in the past few years. Recent auction prices for his drawings and collages have been in the range of $14,000 to $75,000. However, Darger’s work sells more often through galleries and private dealers than at auction. Andrew Edlin, whose gallery is the exclusive representative of the Henry Darger estate, indicates that there is a wide range in prices for Darger’s watercolors and collages depending on size, condition and desirability. Small watercolors begin at $25,000 and prices continue upwards, with large-scale, important works selling for more than $200,000.

COLLECTING OUTSIDER ART

Jane Kallir of Galerie St. Etienne, a dealer of Outsider Art for over 25 years, has noticed that collectors of self-taught art tend to be people who prefer to create their own paths rather than buying into the concept of art as a commodity. Ms. Kallir also notes that, “Outsider Art enjoyed a cult following since the 1970s, but was pushed into the broader marketplace with the art market crash of the early 1990s. Suddenly, many of the big 1980s artists seemed overpriced. Self-taught art has had a resurgence whenever the art world gets stuck in a rut. Collectors will look to those that are oblivious to art world mainstream traditions and find work that is fresher, and at a lower price point.”

Ms. Kallir also points out that blue chip Outsider Artists such as Henry Darger (1892-1973), Bill Traylor (1854-1959), Morris Hirshfield (1872-1946) and Anna Mary Robertson “Grandma” Moses (1860-1961) are at a lower price point than their more traditional blue chip counterparts such as Picasso and Matisse.

Left: Moses, Anna Mary Robertson (Grandma), The Old Covered Bridge, 1944, Oil on board, 17 1/2" x 24 1/4" (44.5 x 61.6 cm). Kallir 488. (C) Grandma Moses Properties, Co. Courtesy Galerie St. Etienne Right: Henry Darger, Young Striped Blengen Female, Boy King Islands, n.d., Pencil and watercolor on paper, 19 x 24 inches (48.3 x 61 cm). Image Copyright Kiyoko Lerner. Courtesy Edlin Gallery, New York

Nonetheless, Luise Ross of Luise Ross Gallery in New York feels that Outsider Art has become more blended within the mainstream art world, especially in the last 5 to 10 years. Major museum shows of Bill Traylor, William Edmondson (ca.1870-1951), Henry Darger and Martin Ramirez (1895-1963) have contributed to the recognition of these artists, who are now likely to be judged on their own merit.

New collectors of Outsider Art benefit from a good relationship with a reputable dealer who can guide and advise them. While the major dealers of this material tend to be situated in New York, there are many reputable dealers in smaller cities. Among these are Fleisher-Ollman Gallery in Philadelphia, and the Creative Growth Art Center in Oakland, California.

New collectors should also visit the Outsider Art Fair, held in New York City every January since 1992. In January 2009, the Museum of American Folk Art hosted a series of lectures and panel discussions in conjunction with the fair to support ongoing scholarship in the field. Outsider Art is a field that is constantly evolving, with new Outsider artists being discovered today. While a good dealer can provide guidance, collectors should develop their eye and discern for themselves what kind of art appeals to them on a visceral level.

Stephen Romano (www.romanoart.com), a private dealer in New York who specializes in Henry Darger, Martin Ramirez, and other self-taught artists, recommends that every collector make it their goal to be able to tell the difference between a masterpiece and a mediocre work. Understanding quality is a skill that can take years to develop, and involves attending museums, art fairs and reading about many different artists. “Always buy the best that you can afford. Although this is easier said than done, collectors should be able to look at a collection in five years and understand why they bought a particular artwork. “If the collector has developed a rapport with several dealers and has gotten a lay of the land before they make their first major purchase, then they will avoid the buyer’s remorse that comes from acquiring a work of art without doing enough research,” he advises.

THE FUTURE OF THE OUTSIDER ART MARKET

While the Outsider Art market has been growing steadily since the 1970s, its future relies greatly on its crossover potential. Robert Manley, head of the Post-war and Contemporary art department at Christie’s, has been tracking the Outsider Art market during the past 20 years. “Growth in the cross-over market of Outsider Art has been increasing, but at a slow, incremental pace. This is largely due to the fact that there isn’t enough quality material for the field to branch out into the international galleries,” he notes. However, he has also seen the field hold steady over the years, and believes that this is due to the dedicated core group of Outsider Art dealers and collectors who continue to explore this field.

In spite of a gloomy economy and a change in venue, the January 2009 Outsider Art Fair in New York did surprisingly well, with many dealers selling top material. Frank Maresca of Ricco-Maresca Gallery represents the Martin Ramirez estate. He believes that Outsider Art was, for many years, a best-kept secret, and within the last three years he has seen a noticeable shift with 80 to 85% of his new collectors coming from the Modern, Post-war and Contemporary field.

Further evidence of the future of the Outsider Art market can be seen in both the museum and Madison Avenue gallery world. Mr. Maresca points to the blockbuster Martin Ramirez show scheduled for 2010 at the Reina Sophia Museum in Madrid and expected to travel to other major European museums. In addition, the cross-over to the Modern, Post-war and Contemporary market is evident with shows such as Tension, Invention, Intoxication and Liberty – Victor Hugo to Martin Ramirez, at the Jan Krugier gallery on Madison Avenue in New York, scheduled for January 8 to February 6, 2009.

Another reason for the continued success of the Outsider Art market is that it is largely considered to be undervalued. While a masterpiece by a Modern, Post-war or Contemporary artist may start at $1,000,000 or more, a comparable masterpiece by a self-taught artist can be found for $150,000. In addition, the material looks phenomenal whether it is installed on its own, or hung alongside Post-war and Contemporary works of art. With its myriad of eccentric references to pop culture and traditions of the past, self-taught art communicates easily. The accessibility of the material may be one of the top reasons why it continues to attract new collectors from the Outside.