Posted on March 5, 2025 by Melissa Stern
Insider Outsider
Adhemar Ahmad- portray 1969. Oilt, thin wooden board, unprimed canvas, staples. 32.5 x 24.25 2002
This past weekend New York saw the latest iteration of the Outsider Art Fair. Started in 1993, it has become a NYC institution and seems to be thriving after a few lean pandemic years. The Fair serves a field that has evolved a great deal over the past 30 years, and I really felt that this year more than in the past. As the number of now “blue chip” or “Old Master Self-Taught” artists dwindle, there’s been an influx of both younger artists and some who push against the definitions of self-taught in the first place. It’s a sticky subject and one that I have no answer to.
The Fair was packed to the gills with both art tourists and serious collectors. Sales seemed vibrant, and most dealers were smiling through their exhaustion. These shows are grueling: load in on Wednesday, open to the public on Thursday, close on Sunday, and load out on Monday. One can forgive the glazed expressions that take over exhibitors’ faces as they try to cover their expenses and make money/connections for their galleries and artists. It’s a six-day sprint.
Over the years I have found some of the most moving works at the show are presented by the non-profits that run art therapy programs for people in need. The Center for Creative Works in Wynnewood, PA, brought wonderful paintings by Eric Stewart. Acrylic on canvas, they are beautifully composed snapshots of urban life.
Eric Stewart-Basketball Series 3. 2024 Acrylic on canvas
Peninsula Gallery was at the fair for the first time. Director Eric Fallen explained that self-taught artists are not typically part of his program. He was introduced to Adhemar Ahmad, a bookseller and streetside chess player who has been on the street in Morningside Heights for decades and was immediately smitten by Ahmad’s work. It’s easy to understand why. Ahmad’s art was some of the most subtle and stunning work I have seen all weekend. Sophisticated compositions with an emotional resonance that was captivating. I hope and trust that all of Ahmad’s pieces went home with buyers. Truly unusual work.
Adhemar Ahmad minus line. Vinyl, 20 x 16 .2002
In addition to the work of self-taught artists, the Fair always has dealers who show historical works of art whose makers’ identities are impossible to know due to the passage of time and the personal nature of the work. These pieces were never intended to be for sale, and thus, the makers’ names were never recorded. There is something mysterious and potent about these works that record moments and histories of the past. We are detectives, tasked with making up our own stories about the who/what/when and where of the artworks. Keith De Lellis Gallery brought a number of these anonymous works, including this arresting hand-colored photo.
American Primitive Oil Painted Portrait Photograph. Painted photograph mounted on board. Original frame. C.1850. 13.5 x 11
Many booths seemed overhung and crowded this year. I understand that the economics of an art fair are tight, and the dealers need to show and sell a lot in a short period. But this year the fair walls felt especially cramped, not always to the advantage of the artwork.
Shrine Gallery always brings a single artist and devotes their booth to an immersive experience with that maker. This year, they brought the work of Arstanda Billy White, a self-taught artist from Richmond, CA. White describes his biggest influence as an artist is Van Gogh, saying “I’m the guy who is going to draw a picture of Van Gogh. In the painting, he’s yellow because that’s how Van Gogh wanted it, but I put him in black. I’m going to draw the whole thing, and then I’m going to draw my dad, the Golden Gloves Champion.” His paintings are bold, with vibrant gestural swaths of color, the figures pulsing with energy. The gallery showed his very droll ceramic sculptures as well.
Arstanda Billy White- That’s Me, Being Scarred and Afraid. Acrylic on canvas. 72 x 60. 2024
Arstanda Billy White- Untitled Self Portrait Glazed ceramic. 24 x 15 x 9 2024
It will be interesting to see how the Outsider Art Fair continues to evolve over the next few years. The show has expanded geographically. I will never tire of finding extraordinary art from around the world there. Increasingly, there’s been a welcome influx of art from other countries: India, the UK, Haiti, Japan, and Iran were all represented this year in what was at least initially a largely U.S.-centered fair.
The scope and definition of outsider art continue to expand perhaps better defined by what it is not than what it is. Whatever the boundaries of the genre, it is refreshing that work characterized as “outsider” continues to so compellingly invite us in.
All photos courtesy of Melissa Stern