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The Field - Outsider Art Fair

Adolf Wölfli, Bangali Firework (Bänggaalisches Feuerwärk), 1926, Colored pencil on paper, 18.5 x 24.5 inches (47 x 62.2 cm)

What is Outsider Art?

Although the roots of Outsider Art can be traced back thousands of years, it is most useful to look back to its most recent precursor, art brut (Raw Art) to hear the most vital articulations of its true spirit. In his 1947 manifesto, French artist and curator Jean Dubuffet described the term art brut as follows: "We understand by this term works produced by persons unscathed by artistic culture, where mimicry plays little or no part (contrary to the activities of intellectuals). These artists derive everything...from their own depths, and not from the conventions of classical or fashionable art."

In his 1972 book championing art brut, Roger Cardinal called it Outsider Art: "I believe that a paramount factor in the critical definition of the creative Outsider is that he or she should be possessed of an expressive impulse and should then externalize that impulse in an unmonitored way which defies conventional art-historical contextualization."

Dubuffet and Cardinal were writing primarily about extremely marginalized European artists: psychotics, mediums, and eccentrics. This has caused the common misconception that Outsider Art is essentially pathological, when in fact the central characteristic shared by Outsiders is simply their lack of conditioning by art history or art world trends.

Over the years, the parameters of Outsider Art have expanded dramatically to include art made by a wide variety of art-makers who share this common denominator of raw creativity. Outsiders come from all walks of life, from all cultures, from all age groups.

In recent years, Outsider Artists may have even come to outnumber Insider Artists who have achieved critical validation within the elite art world, and yet who speak with increasingly less clarity and relevance to us about the human experience. Dubuffet's description of officially recognized art has never been more relevant: "everyone immediately sprinkles it with champagne, and lecturers lead it from town to town with a ring through its nose. This is the false Monsieur Art."

The Field - Outsider Art Fair

Martín Ramírez, Untitled (Super Chief), 1954
Pencil and crayon on paper, 55 x 51 inches (139.7 x 129.5 cm


The genesis of Outsider Art could well be traced to an imagined prehistoric cave wall, to the work of your favorite eccentric visionary (think William Blake), or to the mythic artist-genius dreamed up by Romantic philosophers and poets. Outsider Artists began to emerge as a force to be reckoned with during the early 1920's, with the publication of two pioneering studies of art made on asylum inmates, conducted by European psychiatrists in search of universal truths about human creativity.

German Expressionists soon fell in love with the schizophrenic artists presented in these books--especially Adolf Wölfli, Karl Brendel and August Naterrer--and adopted them as creative muses by appropriating their imagery.  In Paris, the Surrealists looked to the same books for inspiration, and also to Spiritualist Mediums such as Augustin Lesage and Helene Smith who were famous local practitioners of automatic drawing.

It wasn't until after World War II that Outsider Art was truly recognized as more than simply source material for the modernist avant-garde. The French artist Jean Dubuffet took the Surrealist obsession with Outsiders to a new level by daring to collect and exhibit their work. Not only did he champion the artwork of schizophrenics and local mediums, but he also celebrated art made by eccentric isolates and self-taught laborers. Dubuffet recognized in the work of these divergent groups one unifying trait: a raw quality untouched by academic rules or current trends.

In 1947, Dubuffet staged a ground-breaking, manifesto-driven exhibition in Paris, aptly naming his category art brut (Raw Art). Dubuffet's Collection de l'Art Brut grew in the subsequent decades, and eventually found a home in Lausanne, Switzerland, in 1976. This unique collection might well have remained in isolation, if not for the publication of a 1972 study of art brut entitled Outsider Art written by the British scholar Roger Cardinal. Cardinal's book, and his 1979 London exhibition Outsiders, launched Outsider Art as a powerful global force that continues to challenge and redefine the limits of what we call art.

The critical definition of the creative Outsider is that he or she should be possessed of an expressive impulse and should then externalize that impulse in an unmonitored way which defies conventional art-historical contextualization.

                                                        - Roger Cardinal



Judith Scott, Untitled, 2003, Mixed media, 20 x 16 x 10 inches (50.8 x 40.6 x 25.4 cm), Courtesy of Creative Growth Art Center


Augustin Lesage, Untitled, 1927, oil on canvas, 47x37cm.

Dubuffet did not permit his Collection de l'Art Brut to circulate after its permanent installation in Lausanne, in 1976. While previous exhibitions like Harald Szeemann's 1972 edition of Documenta brought wider attention to the radical category of art brut in Europe, it was the 1979 Outsiders exhibition at London's Hayward Gallery that launched it internationally. Co-curators Roger Cardinal and Victor Musgrave expanded Dubuffet's original vision to include American artists such as Henry Darger, Martin Ramirez and Joseph Yoakum, opening the door to artists influenced by vernacular culture, a trait Dubuffet had previously rejected. What had started as a focused challenge to the rigid limits of the mid-20th century Paris art world was now emerging as an international phenomenon poised to unify a vast range of marginal art under the banner of Outsider Art.

By the early 1980s, Outsider Art began to radically transform the field of American Folk Art. Curators, collectors, scholars, and critics who had been struggling unsuccessfully to fit contemporary marginalized artists into the traditional category of Folk Art began to adopt the revolutionary spirit of Outsider Art. Collectors and curators began to make bold, contradictory acquisitions and new, risky curatorial moves that presented American and European artists side by side. The spark of Outsider Art illuminated Folk Art exhibitions throughout the 1980s, including the Corcoran Gallery's seminal Black Folk Art in America:1930-1980, Muffled Voices: Folk Artists in Contemporary Art at the Paine Webber Art Gallery in New York and Baking in the Sun: Visionary Images from the South at the University of Southwest Louisiana.

These and other exhibitions forced a radical split between the traditional and the contemporary aspects of this field. Contemporary Folk Art became synonymous with Outsider Art, despite scholarly rejections on grounds of political incorrectness.

By the early 1990s, Outsider Art was poised to challenge the arbitrary boundaries of the art world. LACMA’s 1992 exhibition “Parallel Visions: Modern Artists and Outsider Art” demonstrated the powerful influence Outsiders had exerted on the mainstream, from the early 20th century on. A more recent reprise of this show, “Outliers and American Vanguard Art,” (2018-19) was hosted by the National Gallery of Art, Washington DC. In the last two decades, curators with an experimental bent have played a major role in staging hybrid shows, including “After Nature,” at the New Museum (2008), “Dargerism” at the American Folk Art Museum (2008), and “Glossolalia" at MoMA (2008)  Such shows combined the work of Outsider and Insider Artists, questioning the constructs of mainstream and margin. 


The most profound development in the recent history of Outsider Art has been the global emergence of art fairs and events dedicated to the work of Outsiders, such as the Outsider Art Fairs in New York and Paris. Another key development is the increasing inclusion of Outsiders in long-established international exhibitions, such as Documenta, the Carnegie International, and the groundbreaking Venice Biennale #55 (2013), named “The Encyclopedic Palace” by curator Massimiliano Gioni to honor the vision of Italian-American Outsider artist Marino Auriti. Other institutions that have embraced Outsider artists include The Brooklyn Museum with its 2014 Judith Scott retrospective, “Bound and Unbound,” The Museum of Modern Art, City of Paris, with the 2015 solo exhibition “Henry Darger,” and The Metropolitan Museum of Art, New York, with its 2018 exhibition “History Refused to Die.” 


June 10, 2019
Qu'est-ce que l'art brut ?

L’art brut est devenu un objet d’étude spécialisé et il occupe un champ de réflexion non négligeable tant du côté universitaire que dans le monde institutionnel de l’art.

June 8, 2019
The Bold, Blessed Paintings of a Sharecropper’s Daughter

An exhibition showcases the graphically powerful work of Mary T. Smith — a self-taught artist from Mississippi — in a rare, in-depth survey.

June 6, 2019
Will the Renovated MoMA Let Folk Art Back In?

Still mourning the American Folk Art Museum, a critic says, “We, and MoMA, don’t need any more Rauschenbergs, or Richters.” Bring on the outsider artists.

May 29, 2019
Both Celestial and Chthonian: ‘Walks to the Paradise Garden’ Marks a Valuable Addition to the History of Self-Taught Art

Writing at a watershed moment in the mainstream acceptance of outsider art, Jonathan Williams appears to have found in voices like Dial’s an antidote to all he felt was repugnant about the South and about America.

May 8, 2019
Hilma af Klint Proved That “Popular” Doesn’t Have to Mean “Stupid”

After the Guggenheim’s smash success, 6 artists who could become intelligent blockbusters.

February 7, 2019
What to See in New York Art Galleries This Week

Miguel Covarrubias’s caricatures; Mariam Ghani and Erin Ellen Kelly’s latest collaboration; Bill Traylor’s drawings; Vivian Maier’s self-portraits; and Hervé Guibert’s photographs of friends and lovers.

January 24, 2019
John Dunkley, an Outsider Artist Deep in the Heart of Jamaica

The Jamaican visionary John Dunkley (1891-1947) is the latest artist to decimate the distinctions between self-taught and trained, outsider and insider and folk and not folk.

January 22, 2019
What is Outsider Art and who coined the term first? The Outsider Art Fair

As the art world has grown and becomes less hierarchical, Outsider Art has increased in popularity. Held in New York, since 1993, and premiering in Paris ten years later, The Outsider Art Fair is central for the dissemination of Outsider art.

January 15, 2019
Art & Mind - Official Film Trailer - Amélie Ravalec

Art & Mind is a journey into art, madness and the unconscious. An exploration of visionary artists and the creative impulse, from the Flemish Masters of the Renaissance to the avant-garde movement of Surrealism and the unsung geniuses of Art Brut and Outsider Art.

January 12, 2019
What Is “Outsider” in Unthinkable Times?

Art’s uplifting power is unmistakably real; today, the works of the most original autodidacts feel more compelling than ever.

December 11, 2018
“Paa Joe: Gates of No Return”

American Folk Art Museum's exhibition "Paa Joe: Gates of No Return" featured in Time Out New York. 

November 15, 2018
Outliers and American Vanguard Art

On November 18, LACMA Los Angeles County Museum of Art will open the third leg of "Outliers and American Vanguard." 

November 12, 2018

The exhibition Art Brut from Japan, another look offers works by twenty-four contemporary creators, presented for the first time in a museum institution in Europe.

November 12, 2018
Five More Museums Acquire Art From Souls Grown Deep Foundation

The New York Times reports that the Souls Grow Deep Foundation will help five more museums acquire works by self-taught African-American artists of the South. 

November 8, 2018

This weekend, the Friends of Pasaquan and the Pasaquan Preservation Society presents Pasafest, a festival to highlight the cultures of the Southeast and celebrate the life and traditions of the visionary artist St. EOM (Eddie Owens Martin).

October 4, 2018
Creating a Stage: The Collection of Marsha and Robin Williams

This phenomenal piece by Adolf Wölfli just sold for $795,000 at Sotheby's Auction House in the Marsha and Robin Williams sale!

October 3, 2018
The Utterly Original Bill Traylor

The New Yorker reviews the new Bill Traylor retrospective, now on view at the Smithsonian Institution through March 17, 2019.

October 2, 2018
Phyllis Kind, Powerhouse Gallerist, 1933–2018

Jerry Saltz​ remembers Phyllis Kind in his obituary on Vulture​

October 2, 2018
Dealer Phyllis Kind, Champion of Vanguard and Overlooked Art, Dies at 85

Andrew Russeth has written a tribute to Phyllis Kind in ARTnews Magazine, which delves into her extraordinary life and chronicles her achievements in the art world. 

September 7, 2018
PÒTOPRENS: The Urban Artists of Port-au-Prince

PÒTOPRENS: The Urban Artists of Port-au-Prince brings together the work of over 25 artists working in the Haitian capital.

September 4, 2018
An Exquisite Nail in the Coffin for La Maison Rouge Art Gallery

After over 180 irreverent exhibitions, a beloved Paris gallery prepares to close its doors.

August 31, 2018
Charting the Divine Plan: The Art of Orra White Hitchcock (1796–1863)

"Charting the Divine" at the American Folk Art Museum has been selected by Jerry Saltz as one of this week's To Dos for New York Magazine.

August 20, 2018
"Expressions Unbound: American Outsider Art from the Andrew and Linda Safran Collection" coming to Tufts University Art Galleries this fall

Largest single-collection gift of works predominantly by African-American artists in university’s 166-year history

August 6, 2018
The American Folk Art Museum’s New Director Has a Plan to Raise the Profile of Self-Taught Art

Self-taught art is "genuine, immediate, and candid," says the museum's new director, Jason T. Busch.

August 1, 2018
American Folk Art Museum Announces New Director

The American Folk Art Museum announced Wednesday that Jason T. Busch will take over as its executive director in September, replacing Anne-Imelda Radice, who stepped down in March after nearly six years with the institution.

July 28, 2018
A Pilgrimage to Art Brut’s Austrian Heart

An Austrian museum presents a wide-ranging survey of works made over almost 50 years by residents and other autodidacts associated with the Art Brut Center Gugging, near Vienna.

July 26, 2018
Mushrooms, Magma and Love in a Time of Science


The New York Times reviews the current American Folk Art Museum's exhibition “Charting the Divine Plan: The Art of Orra White Hitchcock.” 

July 26, 2018
Rammellzee, From Living Letters to Living Sculpture

The universe of the graffiti master turned astrofunk storyteller in a bracing show reveals his lifelong battle against the limitations of form.

July 19, 2018
Rethinking (Art) History (without Reaching a Conclusion)

Kunsthalle Zürich Director Daniel Baumann's essay in the new issue of The Brooklyn Rail

July 11, 2018
At the Beginning, A Monologue: The Fate of Self-Taught Art

By conceiving the notion of art brut in a Europe devastated by the Second World War, French artist Jean Dubuffet questioned the underlying pretense behind the processes of artistic legitimization, dispossessing those authorities empowered to legislate in the art world.

July 11, 2018
Speaking in Tongues

It doesn’t take the antipsychiatry movement to remind us that normality and difference are always relative and result from hegemony and hierarchies of power.

June 29, 2018
'Chicago Calling: Art Against the Flow' celebrates outsider art, Chicago history

Lisa Stone and Kenneth Burkhart wanted art that represented the “pulse of the city” for their show, “Chicago Calling: Art Against the Flow” at Intuit: The Center for Intuitive and Outsider Art — but they had a problem: Of the 10 artists featured in the exhibit, only one is still living.

June 7, 2018
In Their Own Worlds

In recent decades, a tale unfolding within the larger story of contemporary art has been our gradually learning more about, and our trying to place, outsider artists.

June 3, 2018
Jean Dubuffet: Art of the outsider

Now ON DISPLAY here in New York: works by the French artist Jean Dubuffet. Years after his death, the art world is still taking full measure of the man. 

May 30, 2019
‘History Refused to Die’ Review: A Visual Equivalent of Jazz

The Met is exhibiting donations from the Souls Grown Deep Foundation—which preserves the legacy of self-taught contemporary African-American artists—including works by Thornton Dial and Gee’s Bend quilts.

May 29, 2018
A Storm of Art Brut from the Balkans

An exhibition of ecstatic, mystical work at the Halle Saint Pierre in Paris questions what is visionary, anti-pop, art brut, or art brutish.

May 27, 2018
Vestiges & Verse: Notes from the Newfangled Epic

More than a few self-taught artists have invented grand narratives. 

May 26, 2018
Outsider Art Comes to the Metropolitan Museum

The entry of works from the Souls Grown Deep Foundation into the Met’s collection has prompted the museum to rethink the way it presents 20th-century art history.

May 25, 2018
8 Famous Artists Who Were Self-Taught

Humans have been making art since the dawn of time, often with little education in materials, techniques, or theory, yet the notion of the “self-taught artist” is a relatively new phenomenon.

May 17, 2018
Looking Back on William Hawkins, the Outsider Artist Who Became Wildly Popular in His 80s

There is this sense, in looking at Hawkins’s bold and humorous paintings, of returning to something one has always known.

May 4, 2018
The Insider’s Guide to Outsider Art

The exhibition features some compelling artwork, but it falls into the same traps and stereotypes that have plagued many museum exhibitions featuring outlier artists (if that’s what we’re supposed to call them now).

April 27, 2018
Biennale bonanza: artist line-ups revealed for Riga, Berlin and São Paulo shows

Curtain also lifts on Manifesta 12 and the 2019 Sharjah Biennial

April 18, 2018
Hidden Stash of Valuable Drawings Found in Walls of Artist’s Home

City officials in Boise, Idaho, recently made an unexpected discovery, unearthing thousands of dollars’ worth of drawings by a well-known artist hidden in the walls of his own home.

April 4, 2018
An Insider of Design and Media Who Favors Outsider Art

If there were a Collecting Confidence Index, Robert M. Greenberg’s score would be 100.

March 29, 2018
Pallant House Gallery to host UK's first outsider art conference

May event organised by the charity Outside In and European Outsider Art Association aims to give voice to artists on margins of society

March 16, 2018
Odradek: The Form Which Things Assume in Oblivion

Kafka's perplexing creature made of tangled threads provides inspiration for a group show at Malmö Konsthall, Sweden

March 9, 2018
Independent art fair goes its own way and reaps rewards

"Outsider" artists hold their own against more established contemporary names and inspire buyers in search of authenticity and quirk

March 2, 2018
Antiguan Master Frank Walter Is a Revelation at ADAA

Behold the artist Frank Walter at the booth of Hirschl & Adler Modern at the wonderful 2018 ADAA Art Show.

February 27, 2018
The Hushed Brilliance of James Castle’s Mysterious Drawings

An exhibition at the New York Studio School gathers about 50 of Castle’s strangely poetic drawings and cardboard constructions.

February 15, 2018
A Groundbreaking Show Presents a New, Inclusive Vision of American Art

Anyone interested in American modernism should see “Outliers and American Vanguard Art” at the National Gallery of Art. Flaws and all, this groundbreaking adventure highlights outstanding, sometimes rarely-seen artworks; revives neglected histories; and reframes the contributions of self-taught artists to this country’s rich visual culture.

February 10, 2018
When Artists Move from the Margins to the Center

The most powerful outsider artworks in Outliers and American Vanguard Art at the National Gallery of Art evoke ideals about all artists: the belief, for example, that they are distinct from non-artists.

February 6, 2018
The Art of Madness

Art brut, or raw art, is “raw because it is ‘uncooked’ by culture,” John Maizels writes in Raw Creation, “raw because it came directly from the psyche, and, in its purest form, touched a raw nerve.”

January 20, 2018
The Visible Language of Outsider Art

Vestiges & Verse: Notes from the Newfangled Epic, an exhibition of illustrated texts by self-taught artists, feels so intimate that it seems to enter the creative process itself.

January 19, 2018
This guy collects scissors — and calls it art!

Talk about your cutting-edge exhibitions: Harley Spiller’s showing off his scissors. Some 200 of the 800 he owns. 

January 13, 2018
New book reveals an eccentric draftsman’s vividly imagined alternative world

Twenty years ago Renaldo Kuhler was an obscure scientific illustrator who pursued his work in a tiny, cluttered office at Raleigh’s North Carolina Museum of Natural Sciences.

January 11, 2018
Sotheby's brings outsider art to Bond Street

Exhibition with charity Outside In shows work by "hidden" artists working outside mainstream society


Ledger Drawings: Fort Marion and Beyond  Virtual Walk-through and Discussion
Ledger Drawings: Fort Marion and Beyond Virtual Walk-through and Discussion

Panel with Donald Ellis, Ross Frank, and Nadia Ayari in conjunction with the online exhibition "Ledger Drawings: Fort Marion and Beyon," Nov. 16 - Dec. 7, 2020

OAF Talk: Unusual Brains: Neurodiversity and Artistic Creation
OAF Talk: Unusual Brains: Neurodiversity and Artistic Creation
January 15, 2019

New Museum, New York
Panel discussion with Dr. Eric R. Kandel, Linda Sibio, and Gerhard Dammann. Moderated by Massimiliano Gioni

Break On Through (From The Outside) Part I - Andrew Edlin
Break On Through (From The Outside) Part I - Andrew Edlin
April 11, 2018

Sotheby's Institute New York. Featuring panelists Andrew Edlin (owner and CEO of the Outsider Art Fair), Edward M. Gómez (senior editor for Raw Vision), Scott Ogden (owner of SHRINE New York), and outsider artist Daniel Swanigan Snow. 
Recordings courtesy of Stropheus Art Law”.

Break On Through (From The Outside) Part II - Edward Gómez
Break On Through (From The Outside) Part II - Edward Gómez
April 11, 2018

Sotheby's Institute New York. Featuring panelists Andrew Edlin (owner and CEO of the Outsider Art Fair), Edward M. Gómez (senior editor for Raw Vision), Scott Ogden (owner of SHRINE New York), and outsider artist Daniel Swanigan Snow. 
Recordings courtesy of Stropheus Art Law”.

OAF Talk: Karel Appel and the Influence of Outsider Art
OAF Talk: Karel Appel and the Influence of Outsider Art
October 21, 2017

Hotel Drouot, Paris.
Panel discussion with Franz Wilhelm Kaiser, Choghakate Kazarian, Agathe Snow; moderated by Vincent Noce.

OAF Talks: Daniel Cordier in Conversation with Anne Sauvagnargues and Valérie Rousseau
OAF Talks: Daniel Cordier in Conversation with Anne Sauvagnargues and Valérie Rousseau
October 21, 2017

Hotel Drouot, Paris

OAF Talks 2017 - "From Obscurity to Prominence: the Discovery and Stewardship of Outsider Art"
OAF Talks 2017 - "From Obscurity to Prominence: the Discovery and Stewardship of Outsider Art"
January 18, 2017

New Museum / Moderated by Chris Wiley with panelists Tom Di Maria, Marion Harris, Karen Patterson

Wakka Wakka at Barack Obama Readings, OAF 2017
Wakka Wakka at Barack Obama Readings, OAF 2017
Outsider Art Fair Paris 2016 - A Documentary
Outsider Art Fair Paris 2016 - A Documentary
OAF Talks 2016 - "The Shifting Center"
OAF Talks 2016 - "The Shifting Center"
January 25, 2016

Swiss Institute / Moderated by Chris Wiley with panelists Dan Fox, Massimiliano Gioni, Jens Hoffmann, Amanda Hunt

"Inside Look at Outsider Art", Huffpost Live
"Inside Look at Outsider Art", Huffpost Live
November 15, 2016

Andrew Edlin, CEO of Wide Open Arts, discusses outsider art on Huffpost Live

Andrew Edlin on the Outsider Art Fair
Andrew Edlin on the Outsider Art Fair
November 8, 2015

At the American Appraiser's Association conference

Outsider Art Fair Paris on FranceTV
Outsider Art Fair Paris on FranceTV
Outsider Art Fair New York 2014 - A Documentary
Outsider Art Fair New York 2014 - A Documentary
OAF Talks 2014 - "Henry Darger: 40 Years Later"
OAF Talks 2014 - "Henry Darger: 40 Years Later"
May 10, 2014

Center 548 / Moderated by Valerie Rousseau with panelists Micheal Bonesteel, James Brett, Jim Elledge and Jane Kallir

OAF Talks 2014 - "A conversation with Bruno Decharme and Antoine de Galbert"
OAF Talks 2014 - "A conversation with Bruno Decharme and Antoine de Galbert"
October 25, 2014

Hotel Le A / Moderated by Stéphane Corréard with panelists Bruno Decharme, founder of Collection abcd, and Antoine de Galbert, founder of La Maison Rouge

OAF Talks 2013 - "A Bridge Between Art Worlds"
OAF Talks 2013 - "A Bridge Between Art Worlds"
February 3, 2013

Center 548 / Moderated by Valerie Rousseau with panelists Daniel Baumann, Kunstmuseum Bern and Massimiliano Gioni and Ralph Rugoff


OAF Talks 2012 - "Collecting: Obessions"
OAF Talks 2012 - "Collecting: Obessions"

Moderated by Valerie Rousseau with panelists James Brett, Lawrence Benenson and Bruno Decharme

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