September 2023
Outsider Art Fair Paris YTD
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#BillTraylor. Untitled (Black Fish), ca. 1939-42. Colored pencil on found cardboard. 10 x 8 in. (25.4 x 20.3 cm.) [PRIVATE COLLECTION]
This work is illustrated in RiccoMaresca’s book “Bill Traylor: His Art, His Life” (Alfred A. Knopf, 1991) and included in the gallery’s OustiderArtFair Paris online viewing room | Link in profile
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Although emancipated as a boy, Bill Traylor (1854-1949) continued to labor until 1908 on a neighboring plantation in Benton, Alabama—near where he was born into slavery.
By 1910 he was a tenant farmer near Montgomery and it was only when he was in his eighties, and no longer able to do physical work, that he started making art with materials that lay to hand, learning to write his name so he could sign his work. From 1939 to 1942, Traylor produced more than 1,200 drawings that are of crucial significance in American art and social history.
Traylor’s posthumous recognition has expanded steadily ever since his death in 1949, and today his work is in important private and museum collections, including the Metropolitan Museum of Art, The Whitney Museum of American Art (New York), the Montgomery Museum of Fine Arts, the High Museum of Art (Atlanta), and the Smithsonian Museum (Washington D.C.).
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#art #modernart #SelfTaughtArt #OutsiderArt #AfricanAmericanArt #AmericanArt #worksonpaper #coloredpencil #fish #bigfish #blackfish #monochrome #fins #swimming #floating #figurativeabstract #representation #memory #formandfunction #drawing #negativespace #animalportrait #OutsiderArtFair #OAFParis2022
#onlineviewingroom #onlineonly #RiccoMaresca #FrankMarescaArt
![#BillTraylor. Untitled (Black Fish), ca. 1939-42. Colored pencil on found cardboard. 10 x 8 in. (25.4 x 20.3 cm.) [PRIVATE COLLECTION]
This work is illustrated in RiccoMaresca’s book “Bill Traylor: His Art, His Life” (Alfred A. Knopf, 1991) and included in the gallery’s OustiderArtFair Paris online viewing room | Link in profile
•••
Although emancipated as a boy, Bill Traylor (1854-1949) continued to labor until 1908 on a neighboring plantation in Benton, Alabama—near where he was born into slavery.
By 1910 he was a tenant farmer near Montgomery and it was only when he was in his eighties, and no longer able to do physical work, that he started making art with materials that lay to hand, learning to write his name so he could sign his work. From 1939 to 1942, Traylor produced more than 1,200 drawings that are of crucial significance in American art and social history.
Traylor’s posthumous recognition has expanded steadily ever since his death in 1949, and today his work is in important private and museum collections, including the Metropolitan Museum of Art, The Whitney Museum of American Art (New York), the Montgomery Museum of Fine Arts, the High Museum of Art (Atlanta), and the Smithsonian Museum (Washington D.C.).
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#art #modernart #SelfTaughtArt #OutsiderArt #AfricanAmericanArt #AmericanArt #worksonpaper #coloredpencil #fish #bigfish #blackfish #monochrome #fins #swimming #floating #figurativeabstract #representation #memory #formandfunction #drawing #negativespace #animalportrait #OutsiderArtFair #OAFParis2022
#onlineviewingroom #onlineonly #RiccoMaresca #FrankMarescaArt](https://ml5bgczqplpy.i.optimole.com/cb:hODz.1fe94/w:auto/h:auto/q:mauto/f:avif/https://xzib.com/art/sb-instagram-feed-images/308907489_1250960302336799_4824063971734254896_nlow.jpg)
The Outsider Art Fair, the premiere event devoted to self-taught work, opened yesterday. The idea of this being a separate category has long been under fire for being a contrived distinction. Nellie Mae Rowe just had a retrospective at the Brooklyn Museum, Joseph Yoakum’s landscapes were featured at MoMA, and David Zwirner had a very large exhibition of works by James Castle. Yet, despite this, the self-taught world still appears to operate as a separate social network. Jerry Saltz and Matthew Higgs were there, but I didn’t see any painters I knew. With 64 booths, the fair is a dizzying visual overload. Many booths by the major dealers featured art by already established artists. If I had to pick a single highlight, it was Joseph Roth’s “Merry Christmass [sic] and Happy New Year” (1913). The embroidered textile or sampler (1 & 2) by a little-known institutionalized artist, written in a combination of German and English, in the booth of Steven S. Powers. The piece is a knockout, and connects to the brilliant textiles by the Brazilian artist Bispo do Rosário currently featured at the Americas Society. Other standout works include: Miles Carpenter “Untitled (Woman with Dog),” 1972, at Fleisher/ Ollman (3); a series of miniature “handmade books by James Castle (4) at Hirschl & Adler; an Adolph Wölfli drawing (1919) at Carl Hammer (5); a sculpture of a woman and dog by S. L. Jones at Michigan’s Hill Gallery (6); a Nellie Mae Rowe self-portrait (1982) at Andrew Edlin (7); an early 20th century ventriloquist dummy (8) in the booth of Joshua Lowenfels; and Wandada Leo Simith’s musical composition (9) at Zürcher Gallery. In addition, there was a curated space “We Are Birds” by Andrew Edlin and Randall Poster, which featured several great pieces of birds, including one (10) by Minnie Evans (1981). andrewedlingallery outsiderartfair stevenspowers #outsiderart #outsiderartist #selftaughtartist #modernart #modernartist #contemporaryart #contemporarypainting #contemporaryartist #contemporarysculpture #contemporarydrawing #outsiderartfair
![The Outsider Art Fair, the premiere event devoted to self-taught work, opened yesterday. The idea of this being a separate category has long been under fire for being a contrived distinction. Nellie Mae Rowe just had a retrospective at the Brooklyn Museum, Joseph Yoakum’s landscapes were featured at MoMA, and David Zwirner had a very large exhibition of works by James Castle. Yet, despite this, the self-taught world still appears to operate as a separate social network. Jerry Saltz and Matthew Higgs were there, but I didn’t see any painters I knew. With 64 booths, the fair is a dizzying visual overload. Many booths by the major dealers featured art by already established artists. If I had to pick a single highlight, it was Joseph Roth’s “Merry Christmass [sic] and Happy New Year” (1913). The embroidered textile or sampler (1 & 2) by a little-known institutionalized artist, written in a combination of German and English, in the booth of Steven S. Powers. The piece is a knockout, and connects to the brilliant textiles by the Brazilian artist Bispo do Rosário currently featured at the Americas Society. Other standout works include: Miles Carpenter “Untitled (Woman with Dog),” 1972, at Fleisher/ Ollman (3); a series of miniature “handmade books by James Castle (4) at Hirschl & Adler; an Adolph Wölfli drawing (1919) at Carl Hammer (5); a sculpture of a woman and dog by S. L. Jones at Michigan’s Hill Gallery (6); a Nellie Mae Rowe self-portrait (1982) at Andrew Edlin (7); an early 20th century ventriloquist dummy (8) in the booth of Joshua Lowenfels; and Wandada Leo Simith’s musical composition (9) at Zürcher Gallery. In addition, there was a curated space “We Are Birds” by Andrew Edlin and Randall Poster, which featured several great pieces of birds, including one (10) by Minnie Evans (1981). andrewedlingallery outsiderartfair stevenspowers #outsiderart #outsiderartist #selftaughtartist #modernart #modernartist #contemporaryart #contemporarypainting #contemporaryartist #contemporarysculpture #contemporarydrawing #outsiderartfair](https://ml5bgczqplpy.i.optimole.com/cb:hODz.1fe94/w:auto/h:auto/q:mauto/f:avif/https://xzib.com/art/sb-instagram-feed-images/333603074_3549631711927512_653628769853324213_nlow.jpg)
Outsider Art Fair New York 2023
Today`s the last day to catch OAF New York at the Metropolitan Pavilion. Scroll through to see some of my fabulous faves.
outsiderartfair #art #contemporaryart #seltaughtartist #outsiderart #painting #drawing #sculpture #collage #fiberart #outsiderartfair #nyc
