Outsider art is impossible.
Strictly speaking, as a philosophic matter, outsider art is not possible. The reason is the concept of the avant-garde: anything that appears genuinely new will either become an avant-garde, and take its place at the very center of art world interest, or else be considered as something outside of art itself. If outsider art actually appeared as radically new or as significantly different from existing practices, it would not be understood as standing outside of anything. A practical sign of the truth of this philosophic position is that outsider art is not at all incomprehensible — often it is not even unfamiliar-looking. On the contrary, its quirks and oddities are almost instantly comprehensible, and that is an indication that it is already inside: it is comprehensible in terms of some specifiable art-world practice. It is neither genuinely outside nor central: it is an often comfortable, easily assimilable companion and complement to modernism….
NEW YORK OUTSIDER ART FAIR: http://www.outsiderartfair.com/2013/
ROBERT SMITH: http://www.nytimes.com/2013/02/01/arts/design/outsider-art-fair-opens-at-548-west-22nd-street.html?pagewanted=all
“the most lasting work comes from unstoppable emotional necessity”
its a new thing for an artist to talk about their own work without relating it to art history or to their own culture what’s so ever- to oppose back ground context.- This is being accepted within the Tate- German artist- describing his work in terms of Eastern philosophy- pollen on the Turbine Hall floor…
How to talk about work that is about a communication between the soul and painting through use of colour and brush strokes…To be constantly considered. To be aware of what is respected, expected, understood…
How hermetic can you go? No wishes to strive to be insular but to be grounded in what makes sense for you and to be aware of what is happening around you. what has come before, what is expected, and to not be too influenced by those details on the periphery, don’t be affected, they are outside of you. Know what is all around and stay true to what is inside you- and allow harmonic swirling betwixt the two
So yes two weeks ago I found the studio crit (Jonathan, Tim, Lucy and I,) difficult as we talked about a painting which was purposely turned to the wall. I found its presence in our conversation very disturbing. But yes although difficult madness thoughts arose from it being pushed into that present studio world then, actually perhaps the conversation to do with the composition was significant. The composition, I realised, was stagnant- just as the content of the painting was stagnant and I realised that I needed to separate from the content as I had no control over moving it forward, I didn’t want to paint a myth, I tried to paint something which I thought might help me feel resolved about something but the something is not actually to do with me. I am happy to step back. It was a marvellously freeing realisation, let them be
TO paint things which I can benefit from trying to understand from expressing, from learning about, to paint things which are about onwards now here I
its skies and lights
creatures and relationships
fear and elation
conflict and liberation
caves and giant big open arching arches in to the sky’s arches
mountains and canyons
the earth, on top and below, curving up and curving down
and always round and round
we are turning
s p i n n i n g p e a c e f u l
and Graeme Todd has an exhibition event on CHINESE NEW YEAR: 10/02/2012 IN ST ANDREWS, HE AND 3 others. “Steep Trail” 19th Jan- 3rd March
He met Franceso Clemente in Shanghai last year- healthy, bright eyed, old but alive. He paints every day, even whilst travelling, Shangahi, Beijing- he painted every night in his hotel rooms.
Graeme thought my present UNIVERSAL ARMY painting has similar mark making to F.C.
I like his drawings, his expression, his freedom. I always want those things in my work—————-
Thank you Lucy Cardwell and Fraser Gray for passing on your knowledge of Australian stories: