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Market: Indigenous Finds
By: Jenna Curry San Francisco has been the go-to city for tribal arts in February, and this year, two major shows are scheduled for the same weekend. In its 24th year, the San Francisco Tribal & Textile Arts Show, running Feb. 12–13, will showcase art from Oceania, Africa, Asia, the Middle East, Central and South…
Market: The Outsider Edge
By: Sheila Gibson Stoodley The 2010 Outsider Art Fair will take place Feb. 5–7 at 7 West 34th Street off of Fifth Avenue, returning to the venue it moved to last year. Among the nearly 40 exhibitors of works by artists who received little or no formal artistic training will be the Luise Ross Gallery…
Market: Santa Fe Trail
By: John Dorfman Santa Fe is the second-largest art market in the United States, and yet coastal collectors often act as though it existed only in the summer, when Indian Market, Spanish Market, Art Santa Fe and the Opera are on. But Santa Fe doesn’t disappear when outsiders turn their backs—far from it. And during…
Essay: What Goya Saw
“The author is convinced that it is as proper for painting to criticize human error and vice as for poetry and prose to do so,” proclaimed Francisco de Goya y Lucientes in the Diario de Madrid on Feb. 6, 1799, announcing the publication of Los Caprichos(or “Caprices”), his suite of 80 prints made by etching and aquatint, which were intended to reveal “the common prejudices and deceitful practices which custom, ignorance or self-interest have made usual.”
The New Outsiders
The late 1940s saw the first rumblings of appreciation for what is now called “Outsider” art—works created by nonacademically trained artists who operate apart from the cultural mainstream and its art-historical canon. In France, the artist Jean Dubuffet, the Surrealist leader André Breton and the art critic Michel Tapié celebrated visionary autodidacts, whose work they labeled “art brut,” or “raw art.”
Talking Pictures: Sons, Fathers and Forefathers
In his new book, Tom and Jack: The Intertwined Lives of Thomas Hart Benton and Jackson Pollock (Bloomsbury, $35), Henry Adams, a professor of art history at Case Western Reserve University, challenges the received wisdom about these two great 20th-century painters—one, the foremost exponent of American Regionalism; the other, the mysterious genius of Abstract Expressionism
From the Editor: Ancestral Voices
By art-world tradition, the last week in January is Americana week in New York, when the auction houses hold dedicated sales of antique furniture, silver and various forms of vernacular art. The American Antiques Show, benefiting the American Folk Art Museum, takes place at the same time, as does the Winter Antiques Show, not limited to American material but rich in it nonetheless.
Exhibitions: Down to a Science
Virtually everyone is familiar with the phrase, “I don’t know much about art, but I know what I like.” Now The Walters Art Museum and the Zanvyl Krieger Mind/Brain Institute at Johns Hopkins University, both in Baltimore, are collaborating to determine what people like, and ultimately, why they like it.
The Lure of Egypt
Ancient Egypt has always inspired awe. Part of its power lies in the grandeur of its ruins, the “vast and trunkless legs of stone” that Shelley described in his sonnetOzymandias. Part of it is sheer age. Founded over 5,000 years ago, Egyptian dynastic civilization seemed ancient even to the ancients: In Plato’s Timaeus, an Egyptian priest tells Solon that compared to his own people, “you Hellenes are never anything but children.”
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