The Outsider Fair Once More Confirms That Art Is Everywhere by ROBERTA SMITH JAN

Publication: The New York Times Date: January 18, 2018 https://nyti.ms/2DjLjR3 Author: Roberta Smith

ART & DESIGN | CRITIC’S NOTEBOOK https://nyti.ms/2DjLjR3

ART & DESIGN | CRITIC’S NOTEBOOK The Outsider Fair Once More Confirms That Art Is Everywhere By ROBERTA SMITH JAN. 18, 2018 The Outsider Fair Once More Confirms That Art Is EverywhereThe 2018 Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taught or By ROBERTA SMITH JAN. 18, 2018 developmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of The 2018 Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taugShatn otriago Ramón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of developmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: Thteh eD rbarwaing bs uotf increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Santiago Ramón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized underSstaunddieinsg o off Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic the brain but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and tahide Ns ubtys hpeollice, that also presage setup photography of the 1970s and ’80s. Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic aids by police, that also presage setup photography of the 1970s and ’80s. Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a show of the Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a wshoorwk ooff t Thehornton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings whose work of Thornton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings wsuhrofsaeces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its representation surfaces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its reopfr ethseen atarttioisnt with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fair: “A Bird of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the faWir:il “lA A Blwirdays Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro. Will Always Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro. Two major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Gallery of Art in Two major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National GalleryW oaf sAhrint ington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trained and self- Washington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trained and self- taught. It will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through taught. It will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through the 20th century. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art the 20th century. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art will take the plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently received from the will take the plunge withttps://nyti.ms/2DjLjR3h a show centering on the 57 works by black Southern outsiders — including Dial — it recently received from the Souls Grown Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’Ss oOuultss idGreor wArnt Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’s Outsider Art Fair. Some of the supporting evidence: Fair. Some of the supporting evidence: ART & DESIGN | CRITIC’S NOTEBOOK RICCO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín RRamICírCezO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez tThehat is un lOutsiderike any I’ve ever se eFairn. In it, h isOnce radiating aMorerchitectural mConfirmsotifs frame an unch aThatracteristic aArtlly soft EIsden icEverywhere landscapthe atht aist unlike any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape that includes several trees, one spouting a rainbow of leaves. By ROBERTA SMITH JAN. 18, 2018 includes several trees, one spouting a rainbow of leaves.

The 2FL01E8I OSuHtsEidRe/rO ALrtL FMairA Nar rAivlseos inth isth we meeaksetnedrp aiet cae t imraneg we:h tewno t hexet vremrye cloy nrcaerpe td orfa wouintsgids ebry aPr.t M—. wWoernkt mwoardteh b, ay csoelnf-tteamupghort aorry of FLEISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemporary of dReavmelíroepzm. Henista “lIlym imaginpaairtioedn a: rJtuisptits e—r= hPalsa nevt”e rfr soemem areodu mndo r1e9 c5a3p parcoiovuidse osr a in ty fpluicxa.l Alyt Wtheen mtwoomrtehniat,n “ Twhoer lBdevaieuwtif. uWl eM sineed t:h Teh Ee aDrtrha wcuinrgves :of Ramírez. His “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the Earth curve: SGaondt iaing hoe Rr akminógnd oym C aajnadl, ”v atr ieGdre lya nAdrts cGaaplelesr ayl ivpree wseitnhts m renadnedreinringsg bsyto an Se pwaanlislsh. neuroanatomist that revolutionized understanding of the brain but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and tGheo dN uints helrl kingdom and varied landscapes alive with meandering stone walls. StudCieAs RofL U HneAxMplaMinEeRd DGeAatLhL,”E aRt Yth eH Samnsit Lhasnognniaenr,’s k Rneonwwnic aks BGiraldlemrya nin, isW aa sGheinrmgtaonn ,a crtoisntt aainnds atin reys didioernatm ata sth oer igGuingaglinlyg u Hseodu asse foofrensic Aaidrtsis btsy npeoalicr Ve,ie thnanta a, lasno apsrseissategde- slivetiunpg phhoomtoeg froarp ohuyt soidf tehre a 1r9tis70tss. aHned d’8e0pics.ts birds by selectively painting out parts of ersatz patCteArnRedL HAMMER GALLERY Hans Langner, known as Birdman, is a German artist and a resident at the Gugging House of rugs — in this case with red — ingeniously finding figures in the carpet and giving them volume and vitality. Artists near Vienna, an assisted-living home for outsider artists. He depicts birds by selectively painting out parts of ersatz patterned Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lerwuisgs, w—h oin this case with red — ingeniously finding figures in the carpet and giving them volume and vitality. oversDeOesN aA laLrDge ,E pLrisLItinS eG aAnLdL hEipR gYa lFlerroym o nth teh ed eLaonw oefr dEeaaslte rSsid ine ,N isa wtivoer kAinmge wricitahn t mhea Steoruialsl ,G arno uwnnu Dsueaelply F imoupnrdeastsioivne oarnr ay s hofo wLe odfg tehre wdroarwk inofg Ts hfeoartnutroens Dseiavel,r a lt aotwtreibrinutge fdig tuor Oe laivmeor nGgo oudt Ssidhieerlds o(af kthae O Sloivuetrh N, kenwotwonn) ,f oar L haisk ostta rftrloinmg ltyh reo Puinghe- Rheidwgeed I pnadiniatnin Rgess werhvoasteDionO inNALD ELLIS GALLERY From the dean of dealers in Native American material, an unusually impressive array of Ledger South Dakota. They were made around 1890 and are notable for their inventive use of areas of bracing white. surfaces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its redprraesweinntgatsio fneatures several attributed to Oliver Good Shield (aka Oliver Newton), a Lakota from the Pine Ridge Indian Reservation in of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fair: “A Bird SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider prSoogurathm D. Faokrota. They were made around 1890 and are notable for their inventive use of areas of bracing white. Will Always Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro. the fair, he has recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider program. For Two major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Gallery of Art in Washington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists traintehde a fnadir s,e hlfe- has recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but taught. It will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through the 20th century. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art will take the plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently received from the Souls Grown Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’s Outsider Art Fair. Some of the supporting evidence:

RICCO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez that is unlike any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape that includes several trees, one spouting a rainbow of leaves.

FLEISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemporary of Ramírez. His “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the Earth curve: God in her kingdom and varied landscapes alive with meandering stone walls.

CARL HAMMER GALLERY Hans Langner, known as Birdman, is a German artist and a resident at the Gugging House of Artists near Vienna, an assisted-living home for outsider artists. He depicts birds by selectively painting out parts of ersatz patterned rugs — in this case with red — ingeniously finding figures in the carpet and giving them volume and vitality.

DONALD ELLIS GALLERY From the dean of dealers in Native American material, an unusually impressive array of Ledger drawings features several attributed to Oliver Good Shield (aka Oliver Newton), a Lakota from the Pine Ridge Indian Reservation in South Dakota. They were made around 1890 and are notable for their inventive use of areas of bracing white.

SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider program. For the fair, he has recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but The New York Times, p.2 https://nyti.ms/2DjLjR3

ART & DESIGN | CRITIC’S NOTEBOOK The Outsider Fair Once More Confirms That Art Is Everywhere By ROBERTA SMITH JAN. 18, 2018 https://nyti.ms/2DjLjR3 The 2018 Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taught or

ART & DESIGN | CRITIC’S NOTEBOOK developmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of Santiago Ramón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of The Outsider Fair Once More Confirms That Art Is Everywherethe brain but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic By ROBERTA SMITH JAN. 18, 2018 The 2018 Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taugahidt so rby police, that also presage setup photography of the 1970s and ’80s. developmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who Santiago Ramón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a show of the the brain but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally uwseodr aks ofof rTehnsoicrnton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings whose aids by police, that also presage setup photography of the 1970s and ’80s. surfaces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its representation of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fair: “A Bird Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who Will Always Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro. oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a show of the work of Thornton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings whoseTwo major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Gallery of Art in surfaces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its representation Washington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trained and self- of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fair: “A Bird taught. It will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through Will Always Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro. the 20th century. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art Two major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Galleryw oilfl A tratk ine the plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently received from the Washington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trainSeod ualnsd G sreolfw- n Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’s Outsider Art taught. It will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and floFwaeird. t Shoromugeh of the supporting evidence: the 20th century. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art will take the plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently receivedR frIoCmC tOhe/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez Souls Grown Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’tsh Oaut tissid uenrl Aikret any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape that Fair. Some of the supporting evidence: includes several trees, one spouting a rainbow of leaves. RICCO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez FLEISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemporary of that is unlike any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape that includes several trees, one spouting a rainbow of leaves. Ramírez. His “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the Earth curve: God in her kingdom and varied landscapes alive with meandering stone walls. FLEISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemporary of Ramírez. His “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the EarthC cAuRrvLe: HAMMER GALLERY Hans Langner, known as Birdman, is a German artist and a resident at the Gugging House of God in her kingdom and varied landscapes alive with meandering stone walls. Artists near Vienna, an assisted-living home for outsider artists. He depicts birds by selectively painting out parts of ersatz patterned rugs — in this case with red — ingeniously finding figures in the carpet and giving them volume and vitality. CARL HAMMER GALLERY Hans Langner, known as Birdman, is a German artist and a resident at the Gugging House of Artists near Vienna, an assisted-living home for outsider artists. He depicts birds by selectively painting out parts of ersatz patDterOnNedALD ELLIS GALLERY From the dean of dealers in Native American material, an unusually impressive array of Ledger rugs — in this case with red — ingeniously finding figures in the carpet and giving them volume and vitality. drawings features several attributed to Oliver Good Shield (aka Oliver Newton), a Lakota from the Pine Ridge Indian Reservation in DONALD ELLIS GALLERY From the dean of dealers in Native American material, an unusually impressive arrayS oofu Ltehd Dgearkota. They were made around 1890 and are notable for their inventive use of areas of bracing white. drawings features several attributed to Oliver Good Shield (aka Oliver Newton), a Lakota from the Pine Ridge Indian Reservation in South Dakota. They were made around 1890 and are notable for their inventive use of areas of bracing white. SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider program. For the fair, he has recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider program. For the fair, he has recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but https://nyti.ms/2DjLjR3

ART & DESIGN | CRITIC’S NOTEBOOK The Outsider Fair Once More Confirms That Art Is Everywhere ByThe ROBERTA New York SMITH Times,JAN. 18 ,p.3 2018 The 2018 Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taught or https://nyti.ms/2DjLjR3 developmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of Santiago Ramón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of ART & DESIGN | CRITIC’S NOTEBOOK the brain but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic aids by police, that also presage setup photography of the 1970s and ’80s. The Outsider Fair Once More Confirms That Art Is Everywhere By ROBERTA SMITH JAN. 18, 2018 Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a Tshhoew 2 o0f 1t8he Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taught or work of Thornton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings wdehvoeselopmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of surfaces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its reSparensteiangtaot ioRnamón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fatirh:e “ bAr Bairind but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Will Always Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro.Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic

Two major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Gallerya idof sA brty in police, that also presage setup photography of the 1970s and ’80s. Washington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trained and self- Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who taught. It will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a show of the the 20th century. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art will take the plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently recweivoerdk forof mTh tohernton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings whose Souls Grown Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’ssu Orufatscidese rc aAnrt include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its representation Fair. Some of the supporting evidence: of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fair: “A Bird Will Always Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro. RICCO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez that is unlike any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape thaTtwo major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Gallery of Art in includes several trees, one spouting a rainbow of leaves. Washington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trained and self- FLEISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemptaoruagrhy to. fIt will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through Ramírez. His “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the tEhaer t2h0 ctuhr vce:ntury. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art God in her kingdom and varied landscapes alive with meandering stone walls. will take the plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently received from the Souls Grown Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’s Outsider Art CARL HAMMER GALLERY Hans Langner, known as Birdman, is a German artist and a resident at the Gugging House of Artists near Vienna, an assisted-living home for outsider artists. He depicts birds by selectively painting out parts of ersatFz apirat.t Seronmede of the supporting evidence: rugs — in this case with red — ingeniously finding figures in the carpet and giving them volume and vitality. RICCO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez DONALD ELLIS GALLERY From the dean of dealers in Native American material, an unusually impressive arrayt hofa tL eisd guenrlike any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape that drawings features several attributed to Oliver Good Shield (aka Oliver Newton), a Lakota from the Pine Ridge Indian Resinervcalutiodens in several trees, one spouting a rainbow of leaves. South Dakota. They were made around 1890 and are notable for their inventive use of areas of bracing white. FLEISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemporary of SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider program. For Ramírez. His “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the Earth curve: the fair, he has recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but God in her kingdom and varied landscapes alive with meandering stone walls.

ART & DESIGN | CRITIC’S NOTEBOOK The Outsider Fair Once More Confirms That Art Is Everywhere ByThe ROBERTA New York SMITH Times,JAN. 18 ,p.4 2018 The 2018 Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taught or https://nyti.ms/2DjLjR3 developmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of Santiago Ramón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of ART & DESIGN | CRITIC’S NOTEBOOK the brain but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic aids by police, that also presage setup photography of the 1970s and ’80s. The Outsider Fair Once More Confirms That Art Is Everywhere By ROBERTA SMITH JAN. 18, 2018 Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a Tshhoew 2 o0f 1t8he Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taught or work of Thornton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings wdehvoeselopmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of surfaces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its reSparensteiangtaot ioRnamón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fatirh:e “ bAr Bairind but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Will Always Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro.Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic

CHRIS BYRNE This booth features numerous drawings — the most impressive without color — by Susan Te Kahurangi CKAinRg,L an HAMMER GALLERY Hans Langner, known as Birdman, is a German artist and a resident at the Gugging House of autistic artist from New Zealand known for her turbulent mash-ups of pop-culture (toys, cartoon characters, labels). TheyA arrteists near Vienna, an assisted-living home for outsider artists. He depicts birds by selectively painting out parts of ersatz patterned accompanied by a vitrine holding a sampling of an archive about Ms. King, started by her grandmother and continued byr huegrs s —ist einr this case with red — ingeniously finding figures in the carpet and giving them volume and vitality. Petita Cole, a project perhaps unprecedented in the history of outsider art that Mr. Byrne calls Boswellian. DONALD ELLIS GALLERY From the dean of dealers in Native American material, an unusually impressive array of Ledger PHYLLIS STIGLIANO ART PROJECTS The small, often harrowing paintings on paper of Mary F. Whitfield ared hrisatworinygs features several attributed to Oliver Good Shield (aka Oliver Newton), a Lakota from the Pine Ridge Indian Reservation in refusing to die. Many depict lynchings that the artist, who was born in 1947, heard about while growing up black in the South. Works South Dakota. They were made around 1890 and are notable for their inventive use of areas of bracing white. like “Oh Momma Oh Poppa” from 2002 are studies in grief, shock and unmitigated viciousness, softened yet emotionally intensified by their extraordinary play of dark colors splintered by singing hues. SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider program. For

KAREN LENNOX GALLERY The Hairy Who artists of Chicago are well known for discovering outsider artists. Ththe ele faasirt k, nhoew hnas recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but of these may be Pauline Simon (1884-1976), who ran her husband’s dental office until his death, at which point she took up painting. “The Farmers,” from around 1970s might be seen as a heated-up version of Grant Wood’s “American Gothic.” Simon sought guidance from Don Baum, director of the Hyde Park Art Center, where the Hairy Who first exhibited. He is reported to have said, “Don’t teach her anything.”

ZQ Here you’ll find a seductive introduction to the varied activities of Anne Grgich (born 1961) in the form of paintings, embroideries, collages and assembled books. Faces are the primary subject; the main look is updated, slightly raunchy Byzantine.

NORMAN BROSTERMAN Every Outside Art Fair contains something you’ve never dreamed existed, a humbling revelation that art is everywhere. In 2018 it is a jaw-dropping display of baskets made of rattan and wire by Native American inmates at the Iowa State Penitentiary at Anamosa in the 1930s. With their mix of styles — indigenous, Art Deco, Classical Greek — they indicate the relentless flux of visual culture. Wonders, truly, never cease.

Correction: January 19, 2018 An earlier version of this article misstated the David Lewis Gallery’s involvement with the estate of the outsider artist Thornton Dial. While the gallery is showing Dial’s work, it does not represent the estate. The article, using information from the Fleisher/Ollman gallery, also incorrectly stated that P.M. Wentworth and Martín Ramírez were in a mental hospital in Northern California at the same time. Ramírez was a patient at the hospital, not Wentworth. The article also misspelled the surname of an artist at the ZQ gallery. She is Anne Grgich, not Grgrich. The Outsider Art Fair Jan. 18-21, Metropolitan Pavilion, Manhattan, outsiderartfair.com

A version of this article appears in print on January 19, 2018, on Page C18 of the New York edition with the headline: Outside? Inside? Who Can Say Anymore?.

ART & DESIGN | CRITIC’S NOTEBOOK The Outsider Fair Once More Confirms That Art Is Everywhere By ROBERTA SMITH JAN. 18, 2018 The 2018 Outsider Art Fair arrives this weekend at a time when the very concept of outsider art — work made by self-taught or developmentally impaired artists — has never seemed more capacious or in flux. At the moment, “The Beautiful Mind: The Drawings of Santiago Ramón y Cajal,” at Grey Art Gallery presents renderings by a Spanish neuroanatomist that revolutionized understanding of the brain but increasingly hold their own as modernist drawings. And “Murder Is Her Hobby: Frances Glessner Lee and the Nutshell Studies of Unexplained Death,” at the Smithsonian’s Renwick Gallery in Washington, contains tiny dioramas originally used as forensic aids by police, that also presage setup photography of the 1970s and ’80s.

Two major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Gallery of Art in Washington will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trained and self- taught. It will examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through the main event are two walls covered by Tolliver’s canvases and the slightly pneumatic figures and creatures that inhabit them. the 20th century. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art CHRIS BYRNE This booth features numerous drawings — the most impressive without color — by Susan Te Kahurwanilgl it Kakineg t, haen plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently received from the autistic artist from New Zealand known for her turbulent mash-ups of pop-culture (toys, cartoon characters, labels). TheyS aoruels Grown Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’s Outsider Art accompanied by a vitrine holding a sampling of an archive about Ms. King, started by her grandmother and continued by her sister Fair. Some of the supporting evidence: Petita Cole, a project perhaps unprecedented in the history of outsider art that Mr. Byrne calls Boswellian. RICCO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez PHYLLIS STIGLIANO ART PROJECTS The small, often harrowing paintings on paper of Mary F. Whitfield are history refusing to die. Many depict lynchings that the artist, who was born in 1947, heard about while growing up black in the Sotuhtaht. isW uornklsike any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape that like “Oh Momma Oh Poppa” from 2002 are studies in grief, shock and unmitigated viciousness, softened yet emotionallyin inctleundsifeies sde bvyeral trees, one spouting a rainbow of leaves. their extraordinary play of dark colors splintered by singing hues. FLEISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemporary of KAREN LENNOX GALLERY The Hairy Who artists of Chicago are well known for discovering outsider artists. ThRea lmeaírste kzn. oHwisn “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the Earth curve: of these may be Pauline Simon (1884-1976), who ran her husband’s dental office until his death, at which point she took uGpo pda int inhegr. kingdom and varied landscapes alive with meandering stone walls. “The Farmers,” from around 1970s might be seen as a heated-up version of Grant Wood’s “American Gothic.” Simon sought guidance from Don Baum, director of the Hyde Park Art Center, where the Hairy Who first exhibited. He is reported to have said, “Don’Ct tAeaRchL HAMMER GALLERY Hans Langner, known as Birdman, is a German artist and a resident at the Gugging House of her anything.” Artists near Vienna, an assisted-living home for outsider artists. He depicts birds by selectively painting out parts of ersatz patterned

ZQ Here you’ll find a seductive introduction to the varied activities of Anne Grgich (born 1961) in the form of paintinrgusg, s — in this case with red — ingeniously finding figures in the carpet and giving them volume and vitality. embroideries, collages and assembled books. Faces are the primary subject; the main look is updated, slightly raunchy Byzantine. DONALD ELLIS GALLERY From the dean of dealers in Native American material, an unusually impressive array of Ledger NORMAN BROSTERMAN Every Outside Art Fair contains something you’ve never dreamed existed, a humbling drervaewlaintiogns features several attributed to Oliver Good Shield (aka Oliver Newton), a Lakota from the Pine Ridge Indian Reservation in that art is everywhere. In 2018 it is a jaw-dropping display of baskets made of rattan and wire by Native American inmateSso aut tthh eD Iaokwoata. They were made around 1890 and are notable for their inventive use of areas of bracing white. State Penitentiary at Anamosa in the 1930s. With their mix of styles — indigenous, Art Deco, Classical Greek — they indicate the relentless flux of visual culture. Wonders, truly, never cease. SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider program. For the fair, he has recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but Correction: January 19, 2018 An earlier version of this article misstated the David Lewis Gallery’s involvement with the estate of the outsider artist Thornton Dial. While the gallery is showing Dial’s work, it does not represent the estate. The article, using information from the Fleisher/Ollman gallery, also incorrectly stated that P.M. Wentworth and Martín Ramírez were in a mental hospital in Northern California at the same time. Ramírez was a patient at the hospital, not Wentworth. The article also misspelled the surname of an artist at the ZQ gallery. She is Anne Grgich, not Grgrich. The Outsider Art Fair Jan. 18-21, Metropolitan Pavilion, Manhattan, outsiderartfair.com

A version of this article appears in print on January 19, 2018, on Page C18 of the New York edition with the headline: Outside? Inside? Who Can Say Anymore?.

Other changes include the increasing presence of outsider artists in galleries where you’d least expect them. David Lewis, who oversees a large, pristine and hip gallery on the Lower East Side, is working with the Souls Grown Deep Foundation on a show of the the main event are two walls covered by Tolliver’s canvases and the slightly pneumatic figures and creatures that inhabit wthoermk. of Thornton Dial, a towering figure among outsiders of the South, known for his startlingly rough-hewed paintings whose surfaces can include basically anything: rugs, tree branches and wire. On Jan. 25 Mr. Lewis’s gallery will inaugurate its representation CHRIS BYRNE This booth features numerous drawings — the most impressive without color — by Susan Te Kahurangi King, an of the artist with a show intriguingly titled “Mr. Dial’s America.” Until Sunday, there’s a big Dial front and center at the fair: “A Bird autistic artist from New Zealand known for her turbulent mash-ups of pop-culture (toys, cartoon characters, labels). They are accompanied by a vitrine holding a sampling of an archive about Ms. King, started by her grandmother and continued byW heilrl s Aisltwerays Try to Fly” (1991), an avian creature with the markings of a tiger pursued by two figures, at Fred Giampietro. Petita Cole, a project perhaps unprecedented in the history of outsider art that Mr. Byrne calls Boswellian. Two major museum exhibitions signal greater inclusion in the art historical scheme. On Jan. 28, the National Gallery of Art in PHYLLIS STIGLIANO ART PROJECTS The small, often harrowing paintings on paper of Mary F. Whitfield areW hisatsohriny gton will unveil “Outliers and American Vanguard Art,” an exhibition of some 300 works by about 90 artists trained and self- refusing to die. Many depict lynchings that the artist, who was born in 1947, heard about while growing up black in the Sotuatuhg. hWt.o Irtk swill examine how attention to folk and outsider art — from artists, collectors and museums — has ebbed and flowed through like “Oh Momma Oh Poppa” from 2002 are studies in grief, shock and unmitigated viciousness, softened yet emotionallyt inhete 2n0sifthie dc ebnytury. And in May the Metropolitan Museum of Art, which has a large collection of mostly 19th-century American folk art their extraordinary play of dark colors splintered by singing hues. will take the plunge with a show centering on the 57 works by black Southern outsiders — including Dial — it recently received from the KAREN LENNOX GALLERY The Hairy Who artists of Chicago are well known for discovering outsider artists. ThSeo luelass tG krnoowwnn Deep Foundation. It’s inspiring title: “History Refused to Die.” That refusal rings loud and clear in this year’s Outsider Art of these may be Pauline Simon (1884-1976), who ran her husband’s dental office until his death, at which point she took uFpa irpa. inSotinmge. of the supporting evidence: “The Farmers,” from around 1970s might be seen as a heated-up version of Grant Wood’s “American Gothic.” Simon sought guidance from Don Baum, director of the Hyde Park Art Center, where the Hairy Who first exhibited. He is reported to have said, “Don’Rt tIeCacChO/MARESCA If you want to start with some masterpieces, go for a drawing here by the great and prolific Martín Ramírez her anything.” that is unlike any I’ve ever seen. In it, his radiating architectural motifs frame an uncharacteristically soft Edenic landscape that includes several trees, one spouting a rainbow of leaves. ZQ Here you’ll find a seductive introduction to the varied activities of Anne Grgich (born 1961) in the form of paintings, embroideries, collages and assembled books. Faces are the primary subject; the main look is updated, slightly raunchy ByzantinFLe.EISHER/OLLMAN Also in the masterpiece range: two extremely rare drawings by P. M. Wentworth, a contemporary of

NORMAN BROSTERMAN Every Outside Art Fair contains something you’ve never dreamed existed, a humbling Rreavmelírateiozn. His “Imagination: Jupiter=Planet” from around 1953 provides a typically Wentworthian worldview. We see the Earth curve: that art is everywhere. In 2018 it is a jaw-dropping display of baskets made of rattan and wire by Native American inmateGs oadt t inhe hIoewr akingdom and varied landscapes alive with meandering stone walls. State Penitentiary at Anamosa in the 1930s. With their mix of styles — indigenous, Art Deco, Classical Greek — they indicate the relentless flux of visual culture. Wonders, truly, never cease. CARL HAMMER GALLERY Hans Langner, known as Birdman, is a German artist and a resident at the Gugging House of Artists near Vienna, an assisted-living home for outsider artists. He depicts birds by selectively painting out parts of ersatz patterned Correction: January 19, 2018 rugs — in this case with red — ingeniously finding figures in the carpet and giving them volume and vitality. An earlier version of this article misstated the David Lewis Gallery’s involvement with the estate of the outsider artist Thornton Dial. While the gallery is showing Dial’s work, it does not represent the estate. The article, using information from the Fleisher/Ollman gallery, DalsoONALD ELLIS GALLERY From the dean of dealers in Native American material, an unusually impressive array of Ledger incorrectly stated that P.M. Wentworth and Martín Ramírez were in a mental hospital in Northern California at the same time. Ramírez was drawings features several attributed to Oliver Good Shield (aka Oliver Newton), a Lakota from the Pine Ridge Indian Reservation in a patient at the hospital, not Wentworth. The article also misspelled the surname of an artist at the ZQ gallery. She is Anne Grgich, not Grgrich. South Dakota. They were made around 1890 and are notable for their inventive use of areas of bracing white. The Outsider Art Fair Jan. 18-21, Metropolitan Pavilion, Manhattan, outsiderartfair.com SHRINE Scott Ogden, the young owner of this small Lower East Side gallery, is unusual these days for his all-outsider program. For the fair, he has recreated from photographs the chaotic studio-bedroom of the painter Mose Tolliver, another southern outsider, but A version of this article appears in print on January 19, 2018, on Page C18 of the New York edition with the headline: Outside? Inside? Who Can Say Anymore?.