Julian Martin

  

Untitled (motorbike), pastel on paper, 15" x 11", 2014

Untitled (White on Cream), pastel on paper, 15" x 11 1/4", 2010

Untitled (Orange Shape and Khaki), pastel on paper, 15" x 11 1/4", 2010

Untitled (parrot), pastel on paper, 15" x 11", 2014

Like other progressive art studio artists at the Outsider Art Fair, Julian Martin works from found imagery culled from magazines (often art publications). Whereas Helen Rae pushes found imagery to greater levels of complexity and reality, and Marlon Mullen and Andrew Hostick retell images in their own vocabularies, Martin pares the image down to a series of perfectly resolved moments in which a series of forms (each powerful and resolved in their own right), is described with an abundance of velvety pastel marks applied deliberately and seamlessly with a deft touch. Martin achieves a ubiquitous softness - soft colors, shapes, surfaces, and materials, yet always precise and controlled in application, saturating the surface while maintaining the boundaries of each form with conviction.

Initially, Martin’s work seems aesthetically akin to the work of many young artists currently revisiting concepts of early abstraction with suggestions of the figure, such as Brooklyn-based painters Austin Eddy and Tatiana Berg. However, where these artists revisit and re-imagine the ideas of artists like Picasso and Dubuffet, who were themselves appropriating the aesthetics of outsiders, Martin is the real thing. Not in that he is a “real outsider” (at this point Martin is quite well established professionally, certainly as much an insider as any artist living and working in Melbourne), but rather that his works, in sum, lack any tone of irony or nostalgia; the strength of resolution that each of Julian Martin’s drawings finds is achieved through a minimalist’s sensibility, preoccupied with the absolute rather than a historical context, more comparable to Malevich, Gottlieb, or Mondrian than Cubism or Art Brut.

The proposition underlying Martin's work seems to be that a found image may, inevitably or inherently, possess a more perfect resolution that can be exposed through a measured and thoughtful process of reduction. Unlike Mondrian, the absolute is not found in total abandonment of the original, but in the poetic and specific distillation of the identity and expression of the image.

Martin has attended Arts Project Australia in Melbourne since 1988 and has exhibited extensively at various venues in Melbourne since 1990. He has also shown previously at Fleisher/Ollman (Philadelphia), several Outsider Art Fairs (NYC), Museum of Everything (London), MADMusée (Belgium), Phyllis Kind Gallery (NYC), Jack Fischer Gallery (San Francisco), among others. Martin is represented by Fleisher/Ollman and Arts Project Australia.

 

The Effortless Humor of Michael Pellew

Michael Pellew, Untitled, 2016, Mixed Media on Paper, 11"x17"

Michael Pellew, Michael and Latoya Texting on the Beach, 2015, Acrylic on Canvas, 12"x9"

Michael Pellew, British Platter, 2015, Mixed Media on Paper, 14"x17"

One of the fantastic surprises at the Outsider Art Fair this year was our experience with the work of Michael Pellew. Pellew’s work is unassuming, and in the context of the fair particularly blends in - a style defined by repetition, drawing within a simple system, and the use of unconventional materials (markers). We were more familiar with his series of small original drawings marketed as greeting cards, which typically feature a grouping of four or five figures (available at Opening Ceremony in Manhattan and LA). In a larger scale, the voice only available in snippets in smaller works unfolds to become an astonishing comedic performance.

The repetition and economy of visual language in his work is necessary to the humor - each figure articulated in an identical manner, with just a few distinctive features describing its specific identity. The supreme ease with which each character enters the scene via this agile visual vernacular accounts for the works’ pace and timing. There's an exciting cleverness in the way the simple archetype of the figure takes on the identity of countless celebrities, analogous to a skilled impressionist mimicking pop culture icons in rapid succession. Pellew seems to be compiling an ongoing, shifting catalog of celebrities; those with apparent relationships or categorizations are sporadically interrupted with unexpected pairings (Princess Diana and Lemmy Kilmister) or fictional personas (Lauryn Hill M.D. from Long Island College Hospital, The Phanton Lord). Viewers with an extensive knowledge of pop culture are highly rewarded by the ability to recognize the abundance and subtlety of his references.

Michael Pellew, Untitled, 2015, Mixed Media on Paper, 22"x30"

Humor is an important element in many works that don't necessarily make us laugh, but truly funny art like Pellew’s (beyond the occasional clever moment or inside joke), is very uncommon. Crystallizing the elusive and ephemeral quality of comedy into a permanent art object is extremely difficult to achieve. Usually the most overtly funny approach is to employ an explicit punchline that rests on an impressive technical or procedural spectacle; artists that exemplify this approach are those like Wayne White or Eric Yahnker. 

Eric Yahnker,  Beegeesus , 2005, 13 x 10 x 10 in.  "Bible whited-out except that which sequentially spells Bee Gees" image via  www.ericyahnker.com

Eric Yahnker, Beegeesus, 2005, 13 x 10 x 10 in.

"Bible whited-out except that which sequentially spells Bee Gees" image via www.ericyahnker.com

Pellew’s humor, however, is more nuanced, so in the absence of a punchline, his approach relies on absolute fluency rather than overt technical prowess. The quintessential example of this brand of humor is Raymond Pettibon; works that appear effortless afford the artist a more casual voice, equipped to cultivate a more dynamic interaction between the work and viewer. When it's less obvious that there's a joke present, the viewer tunes into a more acute examination of tone and timing in search of the artist's intention. 
 

Raymond Pettibon, image via  www.raypettibon.com

Raymond Pettibon, image via www.raypettibon.com

Whereas Pettibon uses this approach to insert sardonic or satirical moments of levity into his generally grim oeuvre, Pellew instead engages this sort of humor with a lighter and even silly sensibility; he creates an abundantly bright and positive space that is captivating. The conceptual foundation of his work becomes about treading the line between earnestly identifying as an artist, or slyly engaging in play-acting the role of an artist. Walton Ford has described using play-acting (as a scientific illustrator) in a similar way as an entry point into comedy. In Pellew’s case, the performance is broader, and in its execution more engrossing - guiding you through his alternate world, you're always uncertain if he’s serious, even as he crosses well over into the realm of absurdity.

Michael Pellew, Michael Jackson and Bubbles, 2014, Acrylic on Canvas, 14"x11"

In the affable universe he realizes, there’s virtuosity in the way moments of comedic surprise cut sharply through. The lingering experience of these pieces isn’t static, but a dreamlike memory of an event unfolding; line-ups of celebrities…everyone had a pepsi…they were all hanging out around a limousine eating McDonalds…and then Marilyn Manson is offering his famous burger and fries. It’s an alternate reality composed of familiar characters and Pellew is leading us along, introducing each of them, all in his voice - but really it's the viewer’s voice. You are left walking away amused, incredibly satisfied, but not entirely sure what has just happened. 

Pellew has been working at LAND Gallery’s studio for over ten years and participated in numerous exhibitions in New York, including group shows at Christian Berst Art Brut and the MOMA. His work has been acquired by many reputable collectors, including Spike Lee, Sufjan Stevens, Citi Bank, JCrew and PAPER Magazine.

Michael Pellew, Making a Band (detail)

Masters and Emerging Artists at the Outsider Art Fair

Art Project Australia’s Julian Martin at Fleisher/Ollman

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.

Hawkins Bolden at Shrine

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.

Marlon Mullen at JTT/Adams and Ollman

Marlon Mullen, NEWS (P0329), acrylic on canvas, 24" x 36"

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.

Helen Rae at The Good Luck Gallery

Helen Rae, July 1, 2015, colored pencil and graphite on paper, 24" x 18"

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. 

Andrew Hostick at Morgan Lehman

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. 

Andrew Hostick, Leon Polk Smith: A Constellation with Works on Paper, graphite/colored pencil on mat board,

 

Kenya Hanley, Family Matters, 2015, Mixed Media on Paper, 17" x 14", image courtesy Land Gallery

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.

Henry Darger and Judith Scott at Andrew Edlin

Susan Janow, Untitled, colored pencil and micron on paper

Harald Stoffers, Brief 164, March 10th, 2012, ink on paper, 39.25" x 27.5", image courtesy Cavin Morris Gallery

Lonnie Holley at James Fuentes, NY

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.  

Mark Hogencamp, Untitled (IMG_2616), Digital C-print, 27" x 36", 2014

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.

Marlon Mullen Update

Marlon Mullen, Untitled (P2403), acrylic on canvas, 36" x 36"

Marlon Mullen, Untitled, acrylic on canvas, 24" x 30"

Marlon Mullen, Untitled, acrylic on canvas, 30" x 30"

Marlon Mullen in the studio, images courtesy NIAD

Marlon Mullen (b. 1963 Rodeo, CA), who is now represented exclusively by JTT Gallery and Adams and Ollman, lives in Richmond California, where he maintains a studio practice at NIAD Art Center. Mullen’s process entails reducing found imagery, often in the form of art publications, to a point well beyond recognition. Mullen’s flat, simple abstractions are achieved with utter sincerity, devoid of stylistic embellishment, and without reverting to geometric or systematic deconstructions (calling to mind the work of Gary Hume or Monique Prieto). Each elegant, lushly painted composition feels like an original, unequivocal interpretation of its source (while maintaining mere fragments of the initial image), but ultimately asserting a new sense of resolution with power and charm.  

Mullen has been exhibiting work for several years, but there has been a recent increase of interest in his oeuvre; after his inaugural show with JTT in New York, he went on to have a solo exhibition at Atlanta Contemporary; upcoming solo exhibitions are slated with Adams and Ollman in Portland, Oregon and Jack Fischer Gallery in San Francisco. JTT and Adams and Ollman will also be co-presenting a solo show of Mullen's work at the Outsider Art Fair in January. 

In a March Artspace interview, on Finding Space in the Market for Underdogs, curator and White Columns Director Matthew Higgs asserted that Marlon Mullen is "an amazingly interesting painter...we did a solo with Mullen a few years ago...JTT saw his work with us and is doing a solo show with him now. I think that's a really amazing development, that Mullen's work, which was largely only seen in the context of the center where he worked, is now finding multiple audiences. Certainly, from our perspective at White Columns, the goal is to create an audience for these ideas - we're less concerned, or ultimately less interested, in creating a market for these ideas. But I accept entirely that sometimes a market will come."

Mullen's work was discussed more recently in a compelling article written by Brendan Greaves for Artnews, The Error of Margins: Vernacular Artists and the Mainstream Art World. Greaves investigates the current role of Mullen and comparable artists in the contemporary art market:

Though the art world may not yet have a satisfactory way of referring to artists like Mullen, who are variously described by such leaky terms as self-taught, outsider, and vernacular, it has, over the past few years, shown more interest in them and is gradually growing the existing market for their work. When this issue of ARTnews went to press, Christie’s was preparing a September sale of what it deems “outsider and folk art,” including work by such acknowledged masters as Chicago narrative artist Henry Darger, Tennessee stone carver William Edmondson, Swiss Art Brut exemplar Adolf Wölfli, and rural Idahoan James Castle, who made paper constructions and delicate drawings with soot and spit.


The anticipated sales prices of the vernacular works at the auction—ranging from $2,000 to $4,000 for small pieces by Clementine Hunter, a painter of life on the Louisiana plantation on which she lived, to $400,000 to $600,000 for a large double-sided Darger drawing—illustrate the highly variable nature of this still-developing market. As Cara Zimmerman, Christie’s newly hired specialist in the field, told me over the summer, “While some well-known artists like Darger and Edmondson have already achieved auction prices commensurate with post-war and contemporary artists, this is still a new venture for us.

Previous exhibitions include the Parking Lot Art Fair in San Francisco (2015), Welcome To My World at NIAD (2015), NADA Art Fair White Columns Booth in Miami (2014), Under Another Name, organized by Thomas J. Lax at the Studio Museum of Harlem (2014), Undercover Geniuses organized by Jan Moore at the Petaluma Arts Center (2013), Color and Form at Jack Fischer Gallery in San Francisco (2013), Marlon Mullen at White Columns in NYC (2012), After Shelley Duvall '72 at Maccarone in NYC (2011), and Create, curated by Matthew Higgs and Lawrence Rinder at the Berkeley Art Musueum (2011). Mullen is a 2015 recipient of the Wynn Newhouse Award and has work in the collections of The Studio Museum in Harlem, the Berkeley Art Museum, and MADMusée (Belgium). See more of Mullen's work here

Nicole Appel

Cars, Bikes, Car Parts, and Maine Coon Cats, colored pencil on paper, 19" x 24", 2014

Animal Eyes and Russian Boxes, colored pencil on paper, 19" x 24", 2014

Day of the Dead, colored pencil on paper, 19" x 24", 2014

Faberge Eggs and Communist Propaganda Posters, colored pencil on paper, 19" x 24", 2014

Nicole Appel working in the Pure Vision Arts studio in New York

By collecting richly detailed imagery into densely composed arrays, Appel’s drawings assert complex associations that range from the intuitive to the bizarre. The component imagery is intricately rendered and resolved, creating a noisy initial phenomenology that rewards examination with great generosity of nuance. As a creative endeavor, Appel's work traverses the paper as raw process, distorting proportions in order to remain true to earlier choices (with each element of the drawing determining its own edges) and creating untouched negative spaces valued for their potential to fit something else in.  

from Pure Vision Arts in NYC:

 

"Nicole Appel was born in 1990 and was raised in Queens, NY where she still lives. At the age of three, Nicole was diagnosed with autism. She has always been passionate about making art and in 2012, began attending Pure Vision Arts.
Focused, and with a strong independent will, Nicole enjoys drawing and painting people and objects from her memory. With a particular interest in food, animals and pop culture icons, she has a vivid imagination and creates expressive, painterly images. Her stroke is bold and her use of color vibrant." (More)

Chris Chronopoulos

Chris Chronopoulos, Viking Helmet, foam core board, 2014, photo credit: Pure Vision Arts

Chris Chronopoulos creates intriguing sculptural work using everyday materials such as paper,  foam core, and foil. These objects thoughtfully combine his various aspirations and attentions, including "his Greek heritage, interest in martial arts, and knowledge of the ancient world. Chris has built an impressive body of sculptures that depict weaponry from Greek Roman, Medieval, and Viking cultures." (See More) 

Chris Chronopoulos (born 1988, Hell's Kitchen) has been a member of Pure Vision Arts since 2011. Pure Vision is an excellent progressive art studio located in the Chelsea district of Manhattan. Chronopoulos has exhibited at the American Folk Art Museum, the 2015 Outsider Art FairArt Enables in Washington DC, and extensively at Pure Vision Arts.

                               various mixed media helmets

Chris Chronopoulos in the studio with various mixed media championship belts, credit for all photos: Pure Vision Arts