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Outsidein Catalogue Lores 03 1 Published on the occasion of the exhibition Outside In at Pallant House Gallery, Chichester 4 August–8 November 2009 First published in 2009 by Pallant House Gallery Pallant House Gallery 9 North Pallant Chichester West Sussex PO19 1TJ United Kingdom www.pallant.org.uk www.outsidein.org.uk Copyright © The Authors 2009 All images © The Artists © National Portrait Gallery, London: 6 Designed by David Wynn Set in Foundry Sterling All rights reserved. No part of this catalogue may be reproduced, stored in a retrieval system or transmitted in any form without the prior permission of the publisher and copyright owners. The catalogue contributors assert their moral rights to be identified as the authors of their texts. Cover Image Ashley Reaks, Colin Slames's 50th Birthday Party (detail), Collage, pen and ink Monitors kindly supplied by Headline Sponsor of the Year 2009 Surrey and East and West Sussex Museum Service 2 Outside In: A National Event by Stefan van Raay 3 'You don't need to be taught to create.' by Marc Steene 4 Scottie Wilson by Simon Martin 6 Step Up by Gillian Birtchnell 7 Catalogue of Works 29 Thank You 1 Outside In: A National Event Since the early twentieth century, the terms Art Brut or Outsider Art have been used to describe art produced at the edges of society. These artists have little or no contact with the institutions of the mainstream art world; they rarely receive any formal recognition and training despite producing art of a high quality that is both highly personal and idiosyncratic. Outside In is a groundbreaking project which was set up by Pallant House Gallery in 2006 and which invites debate on this overlooked subject. It provides a platform for artists who are marginalised due to health, disability or other social circumstances. The main focus of Outside In is the exhibition of the biennial open art competition, which this year has been held across the whole of the South of England. The competition offers a series of awards and an opportunity to have a residency or solo exhibition at Pallant House Gallery. I am most grateful for the wide support this project has received with special thanks to Marc Steene, Chaz Waldren, Untitled Kate Hadley, the Outside In steering group, the Paul Hamlyn Foundation and Régis Cochefert. Outside In will become a national event by 2012. Stefan van Raay, Director of Pallant House Gallery, August 2009 2 'You don't need to be taught to create.' Outside In started in 2007 as an art competition one hand behind his back, for outsider and marginalised artists in Sussex, for is he hiding a picture? But which we had around 100 artists taking part and the real question I ask 200 artworks entered. In 2009 we expanded the myself is why did Wood project to cover the South of England from Lands take the photograph? They End to Margate and had predicted 400 entries and must have realised the by the closing date we had received over 800, with good fortune that had put over 500 artists registering for the project. We this unique talent in their have had artists entering work from far outside the path, this artist who was region, such as Cumbria and Newcastle, making to have such a profound huge efforts to get their work to the competition. impact on their own art and wished to document it. This overwhelming response has proven the need and relevance of Outside In to many artists and I am firmly convinced that, but for this chance organisations. I am aware that we are only just encounter, Alfred Wallis would have died in obscurity, scratching the surface. There are many artists in the his work lost forever, but instead he now hangs region who we have not reached who I have since among the great in many collections around the heard from or about. This is one of our enduring world, as at Pallant House Gallery. But even though challenges, how do we reach artists who by their Alfred Wallis's work is displayed in galleries with the nature are hard to reach? One of our aims is to create likes of Nicholson and Wood, the inherent prejudice a database so that we can be directly in touch with in art galleries is all too clear when he is labelled as a artists, supporting them to have a degree of control primitive, naïve or self–taught artist, whereas they over their creative lives, rather than working through are seen as part of an art lineage and described as third parties, arts organisations, prisons, social modernist or abstract artists. I firmly believe, as my services, hospitals etc. What has become clear though art tutor the British artist Jeffery Camp, once said is the importance of these organisations and individuals to me 'You don't need to be taught to create'. in supporting many of the artists taking part. There are many exemplary art projects in the region all Outside In shares the same opportunity that furthering the work of marginalised artists and I am Christopher Wood and Ben Nicholson had on extremely grateful to them for all their support. that day in St. Ives when they discovered Alfred Wallis, acting as an opportunity for artists to In valuing and respecting the creativity of marginalised be seen and valued who might not otherwise artists, Outside In is breaking down the barriers that have the good fortune of being discovered. exist in art galleries, where the educated, informed and articulate hold sway and make decisions about I would like to say thank you to: Kate Hadley, the who enters their collections or gets exhibited. Outside In Coordinator, for her hard work and belief Outside In is a gentle revolution, bringing the outside in the project; Peter Pavement, the web site designer, in and enabling artists to be hung on the walls of for his extremely generous support; the interns Olivia a prestigious gallery alongside famous artists. This Stevens, Yumi Okuda and Berit Kingod for their many is not an apologetic or well meaning act, the work hours of unpaid work; the Outside In steering group; produced by these artists I feel ranks as some of the especially Jackie and Steve Street without whose strongest and most interesting work that I have seen. financial support this would not be happening; Mandie Saw, Stephen White, Gail Silver, Sonia Rasbery and One image has stood out for me during the last six Kate Buxton, who gave us valuable guidance; and months, acting almost as a talisman for Outside Rose Knox-Peebles, who diligently helped select In. It is a photograph I discovered by chance, taken and judge the entries and also loaned work for the by the British artist Christopher Wood in 1928, of exhibition; the judges La Collection Bretanique and his friend and fellow artist Ben Nicholson, meeting Stefan van Raay; Régis Cochefert and the Paul Hamlyn the self taught Cornish artist Alfred Wallis. Though Foundation for having faith in the project, Jon Adams obviously recreated after their first meeting, it is a for designing the badges and being such a good powerful image. It shows starkly the two contrasting advocate, and finally to Emily and my family for their personalities, the tall well dressed Nicholson dwarfing support and for putting up with the many hours I the locally dressed Wallis, reaching out, sketchbook have been away from home working on the project. under arm. Is Nicholson about to enter Wallis's house or touch him on the shoulder? Why is Wallis keeping Marc Steene, Head of Learning at Pallant House Gallery 3 Scottie Wilson: A Visionary Eye Scottie Wilson (1891–1972) is one of the most "Life - It's all writ out for you, the moves you make..." celebrated Outsider Artists of the twentieth-century. was one of the artist's favourite expressions. The He is a remarkable example of a so-called 'Outsider child of Lithuanian émigrés, Robert 'Scottie' Wilson Artist' who has become accepted into the mainstream (born Lewis Freeman) was born and raised in a of modern art history, despite the fact that he was deprived, predominantly Jewish Gorbals area of a complete individual, a visionary who never fitted Glasgow. He left school at the age of nine, destined into any formal artistic groups or schools. Although to remain more or less illiterate throughout his life, he was from an unconventional background and and sold newspapers to supplement his family's untrained as an artist, his work came to be admired meagre income, later working as a market trader. and collected by artists such as André Breton, Jean After a period in the army serving in the Scottish Dubuffet and Pablo Picasso and it now graces the Rifles in India, South Africa, and on the Western collections of the Museum of Modern Art in New Front in the First World War, he established himself York, the Tate Gallery, the Collection de l'Art Brut in in London as a dealer in second-hand goods. Lausanne and other major museums around the world. He moved to Canada in the late 1920s, changing his The current exhibition of Scottie Wilson's work is name to Scottie Wilson and opening a small junk drawn from the Pallant House Gallery collection, the shop in Toronto in around 1935, where he began his Haines Collection and a private collection of Outsider art career in the back room at the age of 44. He Art. It brings together drawings and paintings from recalled: "I'm listening to classical music one day – across the artist's career, providing an insight into an Mendelssohn – when all of a sudden I dipped the inner world that was peopled with distinctive stylised bulldog pen into a bottle of ink and started drawing imagery of villages, birds, fish and flowers, but also – doodling I suppose you'd call it – on the cardboard malevolent creatures he called 'Evils' and 'Greedies'.
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