This year begins with stunning solo exhibitions featuring two of this movement’s greatest contemporary artists - Helen Rae at The Good Luck Gallery in Los Angeles and Marlon Mullen at JTT in New York.Read More
Helen Rae, one of the progressive art studio movement's rising stars, currently has recent work on view at White Columns in NYC, marking her first east coast solo exhibition. Rae is quickly emerging as an important figure in this movement; her work is striking, wildly popular, and at 78 years old, her practice is one of great dynamism and momentum.Read More
Throughout 2016, a shift in tone and approach to presenting and discussing artists who exist outside of the traditional or mainstream (that has been crystallizing over the past few years) has continued in force. An unprecedented range of artists working in progressive art studios are being sought out by forward-thinking curators and featured in prominent galleries, including several exciting solo exhibitions - Marlon Mullen’s first solo shows at JTT and Adams and Ollman, Zinzinnati Ohio USA: The Maps of Courttney Cooper at Intuit in Chicago, and Helen Rae’s incredible second solo show at The Good Luck Gallery in LA. This trend continues and accelerates with an impressive array of current and upcoming shows that shouldn't be missed during the fall exhibition season - a great triumph for artists with developmental disabilities working in progressive art studios and other unconventional environments.
Billy White, Figures at South Willard in LA, September 2 - 16
Figures, organized by Celia Lesh, features a selection of narrative ceramic sculptures and drawings from the mysterious and magical oeuvre of NIAD’s Billy White. From Lesh’s curator statement:
Billy recurrently creates clay busts that begin as Vincent Van Gogh and morph into several different characters while retaining qualities of each previous personality – a hat, a mouth closed around a cigar, a mustache, a particularly muscular bicep. Vincent Van Gogh becomes Peter Sellers who becomes Redd Foxx who becomes Billy himself. Little Richard and Richard Pryor are married into a single body whose portrait is titled “Little Richard Pryor”. Sculptures of his father wear a hat that is WC Field’s, Yosemite Sam’s, and/or Jed Clampett’s. Identities are both specific and fluid, and exist in a sort of pantheon where the historic, celebrated, anonymous, and personal share a landscape.
Outside at KARMA in Amagansett, NY, September 3 - September 25
Curated by White Columns Director Matthew Higgs, the extensive roster of great artists in Outside includes Joseph Yoakum, James Castle, Helen Rae of First Street Gallery, Marlon Mullen and Danny Thach of NIAD, William Scott, Aurie Ramirez, William Tyler, and John Hiltunen of Creative Growth, among many other contemporary artists. Participating artists (both conventionally trained and not), represent a wide spectrum of processes and media, while all investigate notions of landscape or sense of place.
Alessandra Michelangelo at Shrine in NYC, September 7 - October 9th
The first exhibition of Alessandra Michelangelo’s work in the United States (curated by Chris Byrne), is currently on view at Shrine, New York’s newest space specializing in both self-taught and contemporary art. Michelangelo’s pastel and colored pencil drawings employ contrasts in hue rather than value, which gives these abstracted figurative and architectural works a visual subtlety that softens the tone of their expressive intensity. Previous to her death in 2009, Michelangelo maintained a studio practice at Blu Cammello, an Italian progressive art studio for artists living with mental illness.
The Eloquent Place: New Works by Harald Stoffers and Josef Hofer, Cavin-Morris Gallery in NYC, September 8 - October 8th.
Featuring Harald Stoffers’ abstracted text-based drawings and Josef Hofer’s nude self-portraits, The Eloquent Place is poised to be a raw index of unspeakable vulnerability. Stoffers engages concepts similar to Dan Miller’s, but with a much more romantic tone of personal narrative; his drawings manifest as daily hand-written letters to his mother, which document his activities (both mundane and meaningful) in great detail. These two artists, well-established in the outsider art discourse, both create work in proto-progressive art studio settings in Austria and Germany.
Dan Miller, Click at Diane Rosenstein in LA, September 10 - October 16
A solo exhibition of works on paper by Creative Growth’s Dan Miller, Click includes Miller’s well-known layered text drawings and paintings, as well as selections from a lesser known body of work executed by typewriter, which are essential in understanding the true nature of Miller’s work and process. In these typed works, Miller’s hand, color, and space are reduced, revealing his message and the rhythm of his voice, which are typically obscured by his repetitive layering process while painting or drawing. This is Miller's first exhibition at Diane Rosenstein and in Los Angeles.
Dale Jackson and Danny Thach at White Columns in NYC, September 13 - October 22
Visionaries and Voices’ Dale Jackson and NIAD’s Danny Thach both have solo shows currently on view at White Columns. These exhibitions feature a large installation of Jackson’s poetic, text-based work and a collection of Thach’s re-interpretations of Keith Haring works, which recreate the images faithfully, but are characterized by more personal and exposed paint handling. Matthew Higgs, one of the earliest champions of artists working in progressive art studios (co-curator of the seminal Create exhibition in 2012 with Lawrence Rinder and early supporter of Creative Growth’s William Scott) has continued to support Bay Area studios while also seeking out artists at Gateway Arts, Visionaries and Voices, and other small studios in the Northeast.
Charles Steffen at The Good Luck Gallery in LA, September 3 - October 29
This marks the first exhibition of Charles Steffen’s work in Los Angeles, in cooperation with Andrew Edlin Gallery. Steffen’s graphite and colored pencil drawings on found paper “resemble pages from an idiosyncratic self-referential field guide with sunflowers, crucifixions and figures complemented by scrawled diaristic ruminations. The figures are often transparent, as if their nerve cells and fibers were on display, and surrounded by aureoles of gray light; bodies and flowers often merge into each other.” Steffen originally began a prolific drawing practice during a fifteen year stay at the Elgin State Hospital in Illinois, which continued until his death in 1995.
Susan Te Kahurangi King: Drawings 1975 - 1989 at Andrew Edlin Gallery in NYC, September 16 - October 30
The gallery’s second exhibition of New Zealand-based artist Susan Te Kahurangi King, curated by Chris Byrne and Robert Heald, is highly anticipated and runs concurrently with her first solo museum show at the ICA Miami. Byrne’s 2014 exhibition of King's work, Drawings from Many Worlds, was widely revered as one of the best exhibitions that year. Known for her colorful, frenetic abstractions of invented characters and appropriated Disney icons that predate Arturo Herrera, Drawings 1975-1989 features a lesser known, primarily monochromatic series of pattern-based drawings in graphite. While more minimal and understated than King's previous work, they remain highly original and compelling.
Courttney Cooper at Western Exhibitions in Chicago, November 12 - December 31
Visionaries and Voices’ Courttney Cooper has a well-deserved first solo exhibition with Western Exhibitions, one of Chicago’s best contemporary art spaces. Cooper's complex bic pen drawings document his intimate experience with Cincinnati, accumulating across increasingly massive surfaces (created by gluing together scrap paper that he gathers while working at Kroger). Cooper creates an authentic network of specific places and structures; his streets are intensely composed of details from memory or observation, cataloging expressions of particular moments or time of year. The relationship of these moments to each other in space is approximated, as in memory - all of which culminates in a dizzying realm of overlapping information that becomes a living record, adorned generously with nostalgic, commemorative expressions of community and identity.
At the 24th annual Outsider Art Fair in New York, it was clear that there has been a profound shift. Superficially, the aesthetics are far from the folk art antique shop feel of the past, having assimilated to a presentation more typical of the mainstream - a change generally attributed to one of field’s most successful champions and current fair organizer, Andrew Edlin. On a deeper level, the definition of “outsider” is flexed to a degree that's able to contain a broad spectrum of idiosyncratic works - from the visionary scarecrows of the late Memphis-based artist Hawkins Bolden, to Marlon Mullen’s lush abstractions, to an installation of 3D printed sculptures designed by 65 unconnected collaborators (presented as the work of a manufacturing company, Babel curated by Leah Gordon). Abandoning category without losing identity, the context of this forum has evolved rapidly over the past few years.
In a review of the fair for Design Observer, John Foster recalls that at the inception of the genre, early outsider art dealer Sidney Janis introduced the concept that “serious art could be made by everyday people”, a notion that's difficult to sympathize with today (if artists aren't “everyday people” then what are they?). This train of thought still seems to have some novelty for some 74 years later, as illustrated by Barbara Hoffman’s odd New York Post headline “The artists at this amazing fair are prisoners, janitors, and mental patients”. Ultimately, Edlin has allowed the fair to begin to merge seamlessly with the mainstream by expanding to include a flexible set of principles rather than depending on this particular kind of romantic narrative structure. It’s no longer necessary that the artists work in isolation or live obscure, misunderstood lives.
Rather, it’s a space for excellent creative endeavors that are genuine and created for their own sake, or for a context not ordinarily included in the art world. The most essential principle underlying this movement is that the institution of the market isn’t what engenders great work. In a climate where Laura Poitras (a filmmaker and journalist with no prior fine art experience) has a significant exhibition opening today at the Whitney, the particular terms and intent with which the OAF brings divergent, highly original perspectives to the art world maintains a distinct and important purpose.
The beauty of this more elastic definition is its efficacy both presently and retroactively, indicating that this isn’t so much a shift in paradigm as a greater understanding of why these works have been so compelling all along.
As usual, titans of the self-taught canon were featured extensively throughout the fair: Henry Darger, Joseph Yoakum, Adolf Wolfli, Jesse Howard, Bill Traylor, Thornton Dial, Minnie Evans, Martin Ramirez, Gayleen Aiken, Frank Jones, Royal Robertson, and James Castle, etc. These masters (the ones who have inspired so many to work in this field) continue to be represented by fantastic works, not due to a traditional romantic narrative, but because of genuine, sophisticated, and highly original visions, as evidenced by their conceptual harmony with work by contemporary “outsiders”.
The fair's strongest and most relevant exhibitions, however, were contemporary works by artists who maintain studio practices at progressive art studios - a dynamic collection of installations that were, in sum, a tour de force eliminating any question about their importance to this emerging sub-market, and potential to sustain, develop, and gain momentum.
The fair’s most important moment, and starkest example of the flexed "outsider" categorization, was the joint exhibition of NIAD’s Marlon Mullen by New York’s JTT Gallery and Portland’s Adams and Ollman - a solo exhibition of reductive acrylic paintings, with content explicitly referencing the contemporary mainstream. The narrative justification for its inclusion would be the assumption that these abstractions are defined by an unusual way of thinking and seeing, as opposed to a neurotypical artist’s contrived deconstruction of found imagery. Whether Mullen is engaging in abstraction in the traditional sense, creating representationally from his own perspective, or whether there is no meaningful difference between representation and abstraction in his experience is impossible to determine. Ultimately, their genesis becomes irrelevant because the elusive power of the imagery is an amalgamation of the inherently expressive nature of the work's formal elements, which isn’t dependent on a mutually understood way of seeing. The real triumph and importance of Mullen’s work lies in the revelation that their mysterious conceptual origin only causes their success to be more fascinating, and that they’re pushed to a degree of technical sophistication that’s unmistakably impactful. His paintings are paradoxically thoughtful and casual, as awkward as they are bold, as messy as they are delicate. These pieces embody a deeply genuine and intuitive quality that coexists with a strength defined by specificity and fine tuning.
The fair’s most generous moment was The Good Luck Gallery’s installation of stunning Helen Rae drawings - surfaces saturated with vigorous mark-making culminate in robust, stylized worlds rendered in graphite and colored pencil. Rae’s counter-intuitive re-imagining of the boundaries between abstraction and representation are thrillingly confounding. Strong graphic or patterned passages have an inexplicable sense of depth and form, which transition into fields scattered with spare details, achieving an almost photographic quality - all of which emerges from a surface that (when examined closely) possesses a roughly inscribed physicality. The continuous stream of excellent new drawings replacing sold work served as a testament to the promise of this prolific septuagenarian as an emerging phenomenon to watch.
Photos do little to capture the true nature of Andrew Hostick's drawings at Morgan Lehman Gallery. Not evident above is the experience of approaching this simple red, blue, and brown figure eight to discover that it’s surrounded by an opaque, shimmering field of marks in white colored pencil, worked hard into the mat board surface. The mystery of choosing to color a white surface white, is in its own way explained and not compounded by its eventual effect: fantastic moments of wonder in a distinct and familiar space. The curious effect of this subtlety achieved in such a laborious manner lays a foundation for the elusive mood that runs throughout all of Hostick’s works. He seems to search for, and with great success, achieve abstractions that aren’t just poignant in a general sense, but evoke a beautifully bleak, arid quality that seems to romantically belong to Ohio.
Other highlights included the velvety pastel abstractions of Art Project Australia’s Julian Martin at Philadelphia’s Fleisher/Ollman, humorous, pop-culture driven drawings by Kenya Hanley and Michael Pellew at LAND Gallery, Harald Stoffers at Cavin Morris Gallery, Joe Minter and Lonnie Holley at James Fuentes, Evelyn Reyes, Daniel Green, and Camille Halvoet at Creativity Explored, Terri Bowden, Susan Janow, and William Scott at Creative Growth, Walter Mika and Victor Critescu at Pure Vision, and an impressive quantity of work by artists at Japanese studios. Although only 4 progressive art studios exhibited independently at this year’s fair, their respective artists were prominently featured in a quarter of the exhibitions, including those of the most prominent dealers.
One of the most important insights from this year's Outsider Art Fair is that the progressive art studio can no longer strive to position itself as a neutral, invisible player between self-taught artists and an outsider art gallery. Undeniably, progressive art studios are poised to be a truly important movement, but, reflecting on this changing landscape it’s important that they critically evaluate their role in presenting work to the market. Despite their prevalence at the fair, gallerists had no reservations about expressing that they’ve been forced to stop representing artists they believe in due to studios' failures, ranging from unethical behavior (such as gifting works to program board members) to providing intrusive facilitation to simply being disorganized. The process of translation from outsider to the mainstream fine art market is delicate, and is something outsider art dealers are just now learning to do effectively; they’ve been an asset to studios because of their willingness to represent unique artists without ties to the broader art community. As the distinction continues to break down between outsider and insider, however, studios can only continue to be relevant if they’re able to proactively take on the responsibilities of translation and promotion typically provided by gallerists (including handling and documenting artwork properly).
The future of this process is pioneered right now by career paths that resemble the ones profiled above: NIAD, JTT, Adams and Ollman, and Marlon Mullen; Visionaries + Voices, Andrew Hostick, and Morgan Lehman; First Street, Helen Rae, and Good Luck Gallery; and Creative Growth, William Scott, and White Columns. Progressive art studios must believe in and champion each of their great artists with respect for their individual vision, with a focus on developing careers that extend beyond their program of origin.
In the traditional narrative of outsider art, the career of an artist such as Mark Hogencamp would have ended with the initial discovery of Marwencol. Ideally in the past, he would have been deceased before the work was found and his fixed oeuvre would be intrinsically associated with the story of a strange man working in isolation and obscurity (much like Darger and Ramirez). Mark Hogancamp, however, is no longer obscure or working in isolation. His new work at this year's fair, scenes created using full-sized mannequins, are a clear and exciting new development in his creative process. Hogancamp’s work is not at all diminished by the open involvement of his facilitator and gallery director Eddie Mullins, who we spoke with at One Mile Gallery’s booth. In our conversation with Mullins, his relationship with Hogencamp was remarkably familiar. Marwencol is a project absolutely devised and driven by Hogencamp, but Mullins has no inhibitions about explaining that the use of mannequins began after he provided some for Mark. Mullins plays an instrumental role in how Hogencamp’s vision is ultimately seen as art, but his assistance isn’t mistaken for collaboration (much like the relationships sound engineers and producers have with musicians). In this way, the transparency of this relationship sets an important example for studios to follow.
Recognizing the true nature of the facilitated creative process, including that provided by artist staff in the studio, must be fully open to criticism in order to progress; it’s simply too personal, dynamic, and delicate to be left out of the discussion. The next wave of great artists will come out of progressive art studios that are not only assisting artists to initiate a creative practice, but also provide innovative and ambitious new facilitation methods to further develop dynamic bodies of work.
Over the past several years, as work created by artists working in progressive art studios (as well as those historically categorized as outsider or visionary) has entered the mainstream, questions have emerged about how to appreciate and discuss these artists. What does it mean to contextualize this work as fine art? What really defines this categorization? What role should the artist's disability or dispositional narrative play in understanding the work? Responding to these questions often seems to result in skirting or avoiding the consideration of an artist's biography.
Fear of overstating biography is rooted in a fair desire to understand these artists on a level playing field with their contemporaries, trying to avoid both an especially generous consideration and a disparaging framing of “other” (necessarily lesser) - seemingly opposite ideas that are in effect the same, a phenomenon which we refer to as the “sympathetic eye”. This dismissive perspective suggests that this work is compelling and valuable only relative to biography; “this is a great achievement...for a person with a disability” is the most destructive and unfortunate possible understanding. This problem emerges in two distinct and passive ways: as an expression of a commonly held, inherent bias or an escape from the pressure of formulating a critical, thoughtful response. There tends to be a discomfort (even fear) that disability or mental illness elicits because the true nature of their difference is unknown - it remains a great and beautiful mystery. This mystery provides an unsure footing for the viewer, unable to feel (with either praise or criticism), if they understand and are receiving what's being communicated or that they’ll be exposed with their response. And so, the sympathetic eye is easily provoked and often may occur without provocation, or despite active attempts to dispel it in the nature of presentation.
In Nathaniel Rich’s recent piece about Creative Growth in The New York Times (A Training Ground for Untrained Artists), he quotes a 1993 article by Rosemary Dinnage in order to describe the appeal of outsider art: “The fantasy that over there, on the other side of the insanity barrier, is a freedom and passion and color that were renounced in childhood … the longing for a return to something direct and strong and primitive.” Dinnage, and Rich by reference, articulate a sympathetic bifurcation that is false; it’s implicated that mainstream contemporary art (we’ll refer to it as insider art) is inherently more structured and sophisticated (less primitive, less free). If this is understood in terms of biography, the real misconception becomes clear. It’s presumed that biography is important in outsider art and not insider art because the latter has a sophisticated, conceptual structure devised by the artist in the course of intentionally creating works of art (intended to be presented and marketed in the contemporary mainstream), a structure that references western art history and culture. In outsider art, a sympathetic viewer assumes that this sophistication is absent, so biography or a captivating narrative is necessary to take the place of a conceptual structure that provides its context. Thus, the perception is that an artist isn’t being intentional, but instead their disposition is what causes the work to be interesting.
In the presentation of Judith Scott’s Bound and Unbound at the Brooklyn Art Museum, curator Catherine Morris sought to avoid this characterization stating:
We have tried to resist viewing Scott’s lack of speech as a void in need of filling and instead have chosen to focus on what Scott does communicate through her work. Readings that draw on biography to construct narrative interpretations for artists who do not communicate through traditional means have historically taken precedence over other ways of understanding. This exhibition is, in part, an attempt to forefront readings of the work that ask questions without expecting definitive answers or metaphorical readings.
Despite this earnest attempt to challenge the viewer to accept mystery, Cynthia Cruz, writing for Hyperallergic, responded “I question the importance of biography as it is emphasized in the wall texts. This results in silencing the work, turning it into the strange artifacts of a strange, not-understood person,” (Words Fall Away) suggesting that the mere presence of the artist's biography in the exhibition is sufficient to “silence” the artist's voice. Cruz makes a comparison to A Cosmos, at the New Museum, where Scott's work was exhibited without biographical information among insiders of similar sensibility. Certainly integrating works by artists with disabilities covertly into group shows with mainstream artists will effectively evade the sympathetic eye, but possibly at the cost of putting a ceiling on their careers and ultimately perpetuating the stigma that disability should remain hidden.
Beyond the problematic implications of both relying on biography too much or avoiding it altogether, often, actively excluding biography is a disservice to the work. David Pagel, in an excellent review of Helen Rae’s exhibition at The Good Luck Gallery (Exhibition Review: Helen Rae), creates an ideal balance of formal, conceptual, and biographical discussion. His criticism focuses primarily on the experience of viewing the work, with keen observations of her routine, artistic process, and unique way of seeing as they are relevant to her drawings, which ultimately assist in recognizing and appreciating their power.
Rejecting the presumption that outsider or visionary art is to be filtered solely through a biographical understanding, whereas contemporary art always speaks for itself, means accepting the fact that some elements of biography are important to all works of art. A heavy focus on biography is, of course, common in outsider art writing. Discussing his recent book about Martín Ramírez with Edward Gómez for Hyperallergic, Víctor M. Espinosa makes an important distinction between a sociological perspective and a formal one:
It is written from the point of view of someone who is practicing the sociology of art, not from that of a conventional art historian … Sociologists believe that no work of art stands alone like that. It’s not that simple. Various factors play roles in how a work of art is produced and, ultimately, in what it might mean at any given time — social, cultural, historical, economic and other factors.
Traditionally, a sociological perspective (or even anthropological one) is permissible in the discussion of outsider art, but it’s not only to fill a void where the artist's own explanation is absent. Espinosa points out that absent any “sociological perspective” (ie. biography) the evaluation is incomplete. These factors are an unavoidable element of any work; certainly our knowledge of Kara Walker’s race or Jeff Koons’ marriage to Cicciolina, for example, informs our understanding of their work. As Matthew Higgs points out:
I think that that question of the artist’s biography is something that a lot of people have issue with in relation to outsider art. I was wondering why we don’t know more about the lives of contemporary artists, why it’s only when they suddenly get a 10-page profile in the New Yorker that we find out what their parents do. Unless an artist gets to a certain level of visibility, we know nothing really about a contemporary artist’s life. We don’t know about their home life, about their kids, what their kids do, what their parents did, or what their partner does. All of this is regarded as extraneous to the work, which of course it isn’t. It’s central to the work.
This begs the question, though, of what’s really occurring and why it's happening now, if outsiders and insiders are so similar in this regard. The real concern is not the presence of these ideas, but who controls them. Andrew Edlin Gallery’s Phillip March Jones explains the additional roles of an outsider art gallery director with Karen Rosenberg for Artspace:
Someone like Judith Scott … there’s a lot of reasons she wouldn’t be able to [market herself]. And other people are just so involved in the works they’re creating that it’s not really part of their reflective process. A lot of the art we show is created for very personal reasons, usually in private. Often, the artists create worlds they wish to inhabit. Maybe sometimes they don’t know that they aren’t inhabiting them—maybe they live within that work, or maybe the relationship to the work is more important, or real, than the relationships they have in our real world. I think someone like Henry Darger very clearly lived more in his work, his drawings, than in Chicago.
…As dealers in this field we have a greater responsibility to the artist, because frequently you are the one who is making a lot of the decisions that the artist would make. When I work with a contemporary artist, they’re present for the installation—they’re doing all these things that for the most part the outsider artist is not engaged in.
What Jones is describing, in effect, is a process of translation. The trajectory of American art history over the past 100-150 years has been driven by a search for new concepts and divergent ways of thinking. This has always been most notably achieved by including ideas previously considered to reside in the margins - Picasso’s appropriation of the ideas and aesthetics of African art, the inclusion of women in the 60s and 70s, the appropriation of commercial and design aesthetics by Pop artists, current artists investigating race and LGBTQ issues, etc. This process has lead to a situation in which the boundaries of the creative culture are so thoroughly broken down that contemporary artists are expected to invent art for themselves and, in effect, become new outsiders. What remains of our consensus culture is only in the periphery - pristine white spaces, white cotton gloves, and expensive crates. Insider artists create for this context, but it’s social power has become equally available to objects like the quilts of Gees Bend, which once had a context and purpose of their own, if a curator such as Phillip March Jones is able to provide it.
Tom Sachs’ 2007 Space Program took place in the blue chip heart of the contemporary mainstream, Gagosian in Chelsea, but it’s only this context that makes it an insider work. Had he created the same body of work, but instead performed the landing in a midwestern backyard then he would be an outsider - and we may give greater credence to his stated goal of creating as a means of attaining the unattainable in a mystical sense, yet his social commentary most likely be dismissed and pathologized as an expression of some strange paranoid thought process. Those distinctions, however, are less important than the fact that it would still be a remarkable and highly sophisticated work. It is an important revelation that the difference between outsiders and insiders is actually just a few delicate details of circumstance. It’s not a desire to escape the superior sophistication of the mainstream that has lead to the inclusion of outsider work, but that the line between the two is increasingly blurred. From our perspective, these designattions have become obsolete and are more appropriately used in only a historical context.
Unfortunately, the sympathetic eye is almost inevitable and shouldn’t be the responsibility of galleries, curators, or art writers to actively target and discourage this tendency. It is their responsibility, however, to confidently lead by example in a full and fair engagement with the work of these artists as they would with any other, including uninhibited discussion of biography, disability, and the various relevant aspects of lifestyle and disposition that inform the work - a respectful practice of appreciating these works by approaching the unknown with wonder instead of fear. This may mean being comfortable experiencing a work as fiction when it was intended as non-fiction or recognizing that compelling, conceptual contrivances of a neurotypical artist may be just as compelling (or more compelling) as intuitive expressions from an artist with an intellectual disability. Because, by definition, neurodiversity will require communication across profound intellectual differences, including vast disparity in the fundamental nature of our experience - the work must become a point of connection without having to result in a consensus.
Recent Drawings, at The Good Luck Gallery in LA, is a beautiful collection of colored pencil and graphite works on paper by Helen Rae. These drawings live in a space between the realms of representation and abstraction, most often realized as figures surrounded by ambiguous, pattern-driven environments resembling textiles or foliage.
Rae’s incredible abstractions aren’t merely expressive, stylized reimaginings of found photos and magazines; each drawing seems to engage and elevate its source image with drive and ambition. Rae seems to search through the image, read it like a rich text, and celebrate every passage - the shadow of a frame against the wall, heel of a shoe, zipper on the side of a bag, are all described with incredible detail and conviction. Inevitably, the figures and faces remain expressive and bold, even as they’re nearly lost in a cacophonous ecstasy of patterns.
Lucien Freud said that “...truth has an element of revelation about it. If something is true, it does more than strike one as merely being so...” In exactly this sense, Rae’s works are undeniable revelations. The impact of the clean, uniform installation is vibrant and specific, further emphasizing the singularity of each drawing.
Much like LA-based artist Eric Yahnker, Rae explores the limits of the often overlooked and rarely mastered medium of colored pencil. These achievements are the direct result of engaging in an uncommonly committed creative practice. Rae has been a studio member of First Street Gallery Art Center since it’s founding in 1990 - First Street’s Seth Pringle asserts, “Helen's focus and dedication in the studio are unmatched. She rarely misses a day and when she's in the studio she's always working diligently. The style and execution of her drawings have slowly but steadily evolved over the course of her 25 year career, growing in compositional complexity to its current state of mind-boggling beauty and intensity.”
The Good Luck Gallery is currently the only commercial exhibition space in Los Angeles devoted to self-taught artist programming. Owner Paige Wery was previously the publisher of Artillery, a contemporary art publication based in LA, for six years before opening the exhibition space in 2014. Wery became familiar with Rae’s work during an initial First Street Gallery studio visit; several people had suggested that she visit their location in Claremont, California due to the quality of art being produced under their long-standing, excellent program. Rae’s show has been wildly successful, selling out early and generating a waiting list for new work.
Over the past several years, interest in the work of self-taught artists (historically referred to as Outsider or Visionary artists) has gained momentum as the contemporary art world becomes increasingly pluralistic. Wery remarks, “It’s very exciting to see the attention that Outsider Art has received over the last few years. I give huge credit to Massimiliano Gioni, who included outsider work with contemporary work at the 2013 Venice Biennale. I think that made a huge difference. The fact that contemporary fairs are including my program and other outsider galleries is a sign that things are moving in the right direction. Museums are showing and accepting Outsider Art into their collections far more often. I’m proud to have joined the champions furthering the exposure and dialogue of self-taught art. The conversations with collectors, artists, dealers, and casual visitors about self-taught art has been extremely encouraging. It seems the art being shown and the dialogues taking place at The Good Luck Gallery are already making a difference.”
Rae’s work has been featured previously in various exhibitions in New York, Boston, Washington D.C., Scotland, Belgium, Japan, and extensively in California. Rae has been based in the Claremont area since 1938.
Helen Rae: Recent Drawings
April 18 - May 16, 2015
The Good Luck Gallery
945 Chung King Road (Chinatown)
Los Angeles, CA 90012
Wednesday – Sunday
Noon – 5PM and by appointment
Helen Rae's first solo exhibition opens tomorrow at The Good Luck Gallery in LA. Rae is a founding member of the First Street Gallery Art Center, a progressive art studio in Claremont, California. Rae's pattern-based graphite and colored pencil drawings straddle the realms of representation and abstraction. You can find more images of Rae's amazing work on The Good Luck Gallery's website. Her drawings have been previously featured in various group exhibitions in California, Scotland, Belgium, and Japan.
April 18 - May 16, 2015
Reception: April 18, 7-10 pm
The Good Luck Gallery
945 Chung King Road (Chinatown)
Los Angeles, CA 90012