STREET now open! Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
 
New York

OUTSIDER ART FAIR

Exhibition Detail
OUTSIDER ART FAIR 2013 - Talks
548 West 22nd Street
Former home of the Dia Art Foundation
New York, New York 10011


February 1st, 2013 - February 3rd, 2013
 
,
> QUICK FACTS
WEBSITE:  
http://outsiderartfair.com
NEIGHBORHOOD:  
chelsea
EMAIL:  
info@outsiderartfair.com
PHONE:  
+1 212 337 3338
> DESCRIPTION

FRIDAY, February 1, 4:00 pm
Mario Del Curto, photographer
Voyages
The Swiss photographer Mario Del Curto is the 2013 recipient of the Geneviève Roulin Tribute for his thirty years of documenting self-taught and art brut artists worldwide. The powerful images he creates open cosmological and philosophical doors to the idiosyncratic universes of the artists he captures. In his talk, he will share his experiences about the characters he has met and reveal unique aspects of their works. With the contribution of art historian Céline Muzelle.

FRIDAY, February 1, 4:45 pm
Dr. Kent Minturn, assistant professor, Institute for Doctoral Studies in the Visual Arts (IDSVA), Portland, Maine, and part-time lecturer, Columbia University
Rewriting the History of Art Brut: The Case of Gaston Chaissac
Using Gaston Chaissac's art and writings as our example, we will attempt to outline an alternative genealogy of art brut that commences not with the publication of Prinzhorn's book (Artistry of the Mentally Ill) and the Surrealists' interest in l'art des fous, but rather with popular "proletarian" literature in interwar France.

SATURDAY, February 2, 9:30 am – 12:00 pm
Location: American Folk Art Museum, Lincoln Center
Uncommon Artists. The Anne Hill Blanchard Symposium
Minnie Evans. Edward Puchner, curator of exhibitions, McKissick Museum, University of South Carolina
Gayleen Aiken. Lyle Rexer, writer and critic
George Widener. Cara Zimmerman, executive director, Foundation for Self-Taught Artists
Rosemarie Trockel. Jenny Moore, associate curator, New Museum
Organized by Lee Kogan

SATURDAY, February 2, 4:00 pm
Dr. Thomas Röske, director, Prinzhorn Collection, Psychiatric University Clinic, Heidelberg, and professor, Institute for European Art History, Heidelberg University
Women’s Mad Art
Only twenty percent of the art works between 1840 and 1930 in the Prinzhorn Collection are by women, although at least as many women as men lived in psychiatric asylums then. And their works differ not only in number but also in content and technique. This talk tries to give reasons for these facts and introduces a lot of lesser-known artists from the famous Heidelberg fund.
Dr. Gail A. Hornstein, professor of psychology, Mount Holyoke College
Agnes Richter’s Jacket: Enigma, Talisman, Narrative
Among thousands of testimonies by people with first-hand experience of madness, especially powerful is Agnes Richter’s elaborately embroidered jacket (Prinzhorn Collection), whose intricate, coded autobiographical text has inspired poetry, music, and many attempts at interpretation. This talk will tell the story of researching and writing Agnes’s Jacket: A Psychologist’s Search for the Meanings of Madness, describing what can be known about Agnes and her jacket, and suggesting a way to understand its talismanic properties, both as a piece of textile art and as a madness narrative.

SUNDAY, February 3, 4:00 pm
A Bridge Between Art Worlds
Daniel Baumann, curator, Adolf Wölfli Foundation, Kunstmuseum Bern, Switzerland, and co-curator, 2013 Carnegie International, Pittsburgh
Massimiliano Gioni, associate director and head of exhibitions, New Museum, and curator, 55th Venice Biennale, 2013
Ralph Rugoff, director, Hayward Gallery, and curator The Alternative Guide to the Universe, 2013
Based on discussions about specific works of self-taught art associated with art brut, outsider art and folk art, the guests will observe, from their levels of expertise as curators for museums and international shows like biennials, the context of integrating these creations into contemporary art networks and exhibition spaces. How is this material absorbed and what particular challenges does it pose? What do these works teach us and how do they provoke or jar established cultural structures? What are the dynamics between the center and the peripheries of art? This conversation will take a critical look at the museography of art brut: How do conventional modern and contemporary art galleries approach showing outsider art?


Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.