{"id":1530,"date":"2010-02-10T04:12:12","date_gmt":"2010-02-10T12:12:12","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2010\/02\/the_static_world_of_outsider_a\/"},"modified":"2010-02-10T04:12:12","modified_gmt":"2010-02-10T12:12:12","slug":"the_static_world_of_outsider_a","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2010\/02\/the_static_world_of_outsider_a.html","title":{"rendered":"The static world of outsider art"},"content":{"rendered":"

Ken Johnson’s review<\/a>
\nof the Outsider Art Fair in New York demonstrated the remarkable: Once
\nthe category shed the unfortunate nomenclature of primitive and naive,
\nit has remained static. Johnson’s review could have been written ten,
\ntwenty or even thirty years ago with almost no changes. Within that
\nconsistency is slippage. No definition of it includes even a majority of
\npractitioners, but few in the audience fail to spot it when it’s in
\nfront of them. <\/p>\n

Photo, Michael Falco, New York Times,
\nfeaturing Bill Traylor<\/i>.<\/p>\n

\"outsiderart.jpg\"Outside is the place
\nfor the driven end of folk art. It has its stars, but they remain as
\nisolated from the mainstream as they are from casual whittlers and
\nhouse-proud quilters. Mainstream artists account for their time and
\nplace. Outsiders don’t have to. For them, the action is inside their
\nheads. (Maybe it should be called Insider art.) Bill
\nTraylor’s paintings<\/a> would have been equally at home and not at home
\nin any time in the last 1,000 years. That’s a freedom no other kind of
\nart achieves.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ken Johnson’s review of the Outsider Art Fair in New York demonstrated the remarkable: Once the category shed the unfortunate nomenclature of primitive and naive, it has remained static. Johnson’s review could have been written ten, twenty or even thirty years ago with almost no changes. Within that consistency is slippage. No definition of it […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1530","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1530","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1530"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1530\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1530"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1530"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1530"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}