Contemporary art is a premium alternative asset class that attracts ambitious investors who are looking to outperform the major indices and diversify their holdings into an uncorrelated sector of global markets. Within this alternative asset class lies yet another alternative: outsider art.

Outsider art has a rich history dating back to the first half of the 20th century, when avant-garde artists such as Wassily Kandinsky and Jean Dubuffet became fascinated by the art of the neurodiverse, children, and peasants. They saw in these artworks a purity, originality, and intensity that contrasted with the academic and conventional art of their time. Dubuffet coined the term “art brut” (raw art) to describe these artworks, and collected thousands of them in his personal museum which he gifted to the city of Lausanne in 1976.

The category of outsider art encompasses artists without formal education and commercial gallery representation. Oftentimes, these artists also experience psychosis, have a serious disability, or live on the margins of society due to a pronounced personal idiosyncrasy. All of these factors combine to make outsider art particularly difficult to collect. However, for the astute collector who knows where to look and how to approach this market anomaly, outsider art promises an incredibly rewarding journey filled with improbable interlocutors and the possibility of outsized returns.

Henry Darger, Christmas seal girls (1958). Watercolor, pencil and stamps on paper pasted on cardboard

Difficulties with Valuation

The investment opportunity presented by outsider art is especially challenging to discern because it confounds fundamental criteria which are commonly used to appraise art. For instance, outsider artists’ manner of self-representation is devoid of the markers of value found in the CVs of professional artists. Art collectors and their advisors routinely assess artists’ potential by virtue of where they have been educated and where they have exhibited, and these factors combine to create a valuation band for the artist.

Conversely, outsider artists are without academic qualifications and list of gallery exhibitions. The absence of institutional acceptance leads to a wild market without a reliable price floor. For collectors, that’s a very daunting prospect to contend with.

However, the history of extraordinarily low entry points on prolific outsider artists can make the upside potential highly compelling to collectors with an appetite for risk and a commitment to stewarding this vein of artistic expression that is innocently unversed in art history and the conventions of the contemporary art canon.

Increased Recognition

It is common for the most prolific of outsider artists to go virtually unnoticed by the art world during their lifetimes. Nevertheless, a contingent of devoted curators and outsider art aficionados have raised the profile of standout talents through exhibitions and critical attention. Outsider art gained recognition in the 1970s, when the British art critic Roger Cardinal introduced the term “outsider art” to encompass a wider range of artists and artworks that did not fit into established categories. In 1979, he and Victor Musgrave organized an exhibition called Outsiders at the Hayward Gallery which featured works by artists such as Adolf Wölfli, Henry Darger, Madge Gill, and Nek Chand.

Combining translucent polymer clay with saturated pigments or carving delicate ridges from tulipwood, Levi van Veluw constructs enigmatic, immersive narratives. The Dutch artist has been fascinated by symbols and rituals since childhood, spurred by an upbringing in a religious household. The complexity and conviction of faith and “the stark visual language of its practice made him sensitive to the visual vernacular of religious seduction,” reads a statement for the artist’s series Beyond Matter.

Memory, architecture, and storytelling manifests in Beyond Matter through the portrayal of naves or chapel-like spaces, altars, and mandalas redolent of rose windows. Geometry and repetition interact with light and shadow in meditative patterns, exploring the parallels of spiritual experience and viewing art. Van Veluw prompts questions about what and how we see and our role in completing the picture.

In another body of work, In the depths of memory, van Veluw explores portraiture and interactions between figures in a series of framed reliefs that echo movie stills or storyboard frames. And an immersive room stacked top-to-bottom with identical portraits invites viewers to stand in the center of a mysterious chamber. Mirrors on the floor and ceiling reflect the walls and one another, giving the impression of a space that is both confined and infinite. The artist leaves its interpretation open: Are you in a studio? A fever dream? Inside the artist’s mind?

“Dinner”

Van Veluw’s uses portals, windows, and the power of the gaze to invite us into the narrative. “In between,” for example, depicts an unhappy family in a car, viewed straight-on through the windshield. In “Dinner,” an argument has been interrupted, and one subject turns around in his seat to face outward in frustration. “Stared at by piercing gazes, you are made complicit in a situation that unfolds before your eyes,” says a statement. “You are being looked at, but, in a way, you are also looking at yourself from the outside.”

An acquisition of van Veluw’s piece “Planetary Chapel” by the Stedelijk Museum Schiedam is scheduled to go on view soon, and he is currently preparing solo exhibitions for the Singer Museum in Laren, The Netherlands, and Les Filles du Calvaire in Paris. The artist is represented by Galerie Ron Mandos, and you can explore his work in much more detail on his website. He also shares updates and amazing process videos on Instagram.

“In between”

Detail of “In between”

“In the depths of memory”

Detail of “In the depths of memory”

“Circular Compound”

“Beyond Matter”

“Distinct”

“Divine”

“Conversation”

“Abstruse”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Enigmatic Scenarios Unfold in Levi van Veluw’s Complex and Confrontational Sculptures appeared first on Colossal.

dang can painting

Le Trieu Dien Painting

art certificate

Flamingo.trade, a leading platform in the art market, is making waves with their groundbreaking approach to art investment.

VIETNAM, August 17, 2023/EINPresswire.com/ — Flamingo.trade, a leading platform in the art market, is making waves with their groundbreaking approach to art investment. By combining digital non-fungible tokens (NFTs) with physical art, Flamingo.trade is providing art collectors and traders a safe and sound option to invest in art.

Traditionally, art collectors and traders have faced several challenges, including concerns around authenticity, provenance, and security. Flamingo.trade aims to address these concerns by leveraging the power of blockchain technology and NFTs. With Flamingo.trade, investors can now confidently trade art knowing that each piece is authenticated, transparent, and securely stored.

Digital NFTs, or non-fungible tokens, have gained significant popularity in recent years. These unique digital assets allow ownership and provenance of digital objects, such as artwork, to be securely recorded on the blockchain. Flamingo.trade takes this concept further by bridging the digital and physical art worlds. Through their platform, investors can purchase digital NFTs that represent ownership of physical art pieces. This innovative approach not only allows art collectors to diversify their portfolios but also opens up new opportunities for artists and investors alike.

The fusion of digital NFTs with physical art offers several advantages for art collectors and traders. Firstly, it provides a seamless way to invest in art without the hassle of physically owning and storing the artwork. Additionally, it allows investors to participate in the digital art market, which has seen unprecedented growth in recent years. With Flamingo.trade, art enthusiasts can explore a wide range of artworks from renowned artists and invest in them with confidence.

Flamingo is committed to promoting transparency and security in the art market. Each digital NFT created on their platform is associated with a physical art piece, ensuring the authenticity and uniqueness of the artwork. Furthermore, Flamingo.trade partners with reputable art institutions and experts to verify and validate the physical art pieces represented by the NFTs. This collaboration ensures that investors can trust the quality and value of the artworks they invest in.

As the world embraces the digital revolution, Flamingo.trade continues to disrupt the art market with their innovative approach to art investment. By combining digital NFTs with physical art, they are revolutionizing the way art collectors and traders invest in art. With Flamingo.trade, art enthusiasts can now participate in the art market with confidence, knowing that their investments are safe, sound, and authenticated.

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About Flamingo:
Originating in Vietnam, Flamingo.trade showcases an extensive array of artworks by esteemed local artists including Ha Nguyen Tri, Le Trieu Dien, Dang Can, and more. This marks the inception of a novel collection of NFT-backed art assets on a global scale.

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Flamingo.Trade
hello@flamingo.trade
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BEVERLY HILLS, Calif., August 16, 2023 (Newswire.com)
–
Patek Philippe Geneve is synonymous with the next generation. IMA ART Fertility helps its Chinese Clientele create the next generation through access to the world’s finest network of specialists in the fields of fertility and reproductive law.

Launching the first of its kind We Create Heirs^® fertility & surrogacy campaign exclusively serving China’s super wealthy, IMA ART embarks upon a truly unique adventure to capture the senses, imagination and desires of discreet high-net-worth families. IMA ART Fertility’s singular focus is helping discerning Chinese clientele build their families – and the next generation – by utilizing the full suite of advanced assisted reproductive technologies, including gender selection, PGT (pre-implantation genetic testing), ICSI (Intracytoplasmic sperm injection) & surrogacy. California’s progressive legal framework allows for any single person, LGBTQ and heterosexual couple to become parents – these are luxuries not legally available outside the U.S.

“Indeed, there can be no grander luxury than our children. IMA ART redefined a new paradigm in fertility,” said Michelle Tang, CEO, Co-Founder & Ethnic Chinese.

Unfortunately, for many, this ultimate luxury requires a little help – that’s where IMA ART Fertility’s bespoke family journey comes in. The Co-Founders’ imaginations know no limit when it comes to going above and beyond, with infinite creative freedom to design Chinese guests’ ultra-personalized experience for the next generation. At IMA ART, nobody does what they do at the high level they do it.

Wealthy Chinese clients inherently understand having more children diversifies their generational risk. Wealthy Chinese families are pragmatic and understand competition between their offspring ensures the family’s assets are ultimately passed down to that child with the most ability –  offspring who will carry on the family lineage to future generations.

Having one child carries enormous risks for affluent Chinese families. If that offspring is incapable, it is believed the family will collapse. More children minimizes the risk, maximizes social development and the future success of the family over future generations. Chinese families have experienced many upheavals and challenges during their long history. IMA ART Fertility provides a trusted avenue towards successfully continuing the family bloodline.

Traveling across Hong Kong, Shenzhen, Beijing and Shanghai, Co-Founders Michelle Tang and Ron Sonnenberg have taken their case to the super private lives of China’s mega-wealthy. Families who have achieved unimaginable success and who demand the very best in all their endeavors. This is especially important in the field of international fertility & surrogacy arrangements.

About the Company: Privately held IMA ART offers the first-of-its-kind significant, unique, and consistently elevated luxury fertility experiences to intended parents from around the world. The firm’s bespoke professional advisory services provide transformative luxury concierge services paired with fertility & surrogacy in Beverly Hills. The company’s exclusive suite of discreet fertility options is exclusively available to busy high-net-worth individuals. Learn more.

Source: IMA ART Fertility

About Amtrak®

For more than 50 years, Amtrak has connected America and modernized train travel. Offering a safe, environmentally efficient way to reach more than 500 destinations across 46 states and parts of Canada, Amtrak provides travelers with an experience that sets a new standard. Book travel, check train status, access your eTicket and more through the Amtrak app. Learn more at Amtrak.com and connect with us on Twitter, Instagram, Facebook and LinkedIn.

Anyone who grew up crafting with pony beads and cord will recognize the iconic beaded lizard. Dangling from backpacks traveling to and from grade school, trading colorful designs with friends, and crafting these tiny reptiles together are fond memories that come to mind when admiring at Jeff Rubio’s giant creaturely sculptures.

Invoking queerness, nostalgia, and joy, the artist taps into childhood experience by creating large-scale versions of the youthful pastime. Based in Philadelphia and working out of the historic Bok building, Rubio first molds dozens of ceramic pony beads, substantially oversized in comparison to the typical craft material. They then introduce vibrant rope to string together each piece to form the evocative, recognizable lizard shape. Rubio also fashions large steel paperclips onto several of their pieces to transform them into keychains, again connecting to the act of crafting as a kid, scrounging around for materials, and working with the most accessible supplies.

“In my studio, I find myself surrounded by tokens of my childhood—Tamagotchis, action figures, and Happy Meal toys. While these artifacts hold great sentimental value, they’re often a lot smaller than we recollect,” Rubio tells Colossal, explaining further:

The artist continues to create works drawing from their adolescent memories, focusing on iterations of Tamagotchis, Mr. Potato Head, and more. Rubio is anticipating a forthcoming group show at Commonweal Gallery, opening this November. To see more of their process, check out their Instagram and website.

Photo by Ian Shiver

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Jeff Rubio Chains Ceramic Beads and Childhood Memory in Giant Lizard Sculptures appeared first on Colossal.

The highly anticipated Red Earth Fallfest is back, and it promises to be a day filled with vibrant celebrations of Native cultures.

The annual event willtake place on Saturday, October 14th, from 10:00 am to 5:00 pm, captivating attendees with an unforgettable parade, an all-day art market, and an opportunity to experience the Red Earth Youth Powwow.

Red Earth Fallfest is proudly presented by Red Earth, a 501(c)3 non-profit organization dedicated to promoting Native arts and cultures through education, festivals, and art markets.

The festivities will kick off with a magnificent parade, led by Tribal leaders, princesses, dancers, community organizations and more. Spectators can line the streets of downtown Oklahoma City to witness the procession, which starts promptly at 10:00 am.

The parade route will begin at NW 6th Street and Walker Avenue, heading southbound on Walker and culminating near the Myriad Gardens on Sheridan Avenue.

Following the parade, the enchanting Devon Lawn of the Myriad Gardens will transform into an extraordinary Art Market, showcasing a diverse range of arts and crafts. From intricate beadwork to stunning paintings, visitors will have the opportunity to immerse themselves in the rich tapestry of Native artistry. The Art Market will be open to the public from 10:00 am to 5:00 pm, providing ample time for attendees to peruse the unique creations and find treasures to take home.

In addition to the Art Market, the Youth Powwow will take center stage, captivating audiences with awe-inspiring dances and mesmerizing drumbeats. Commencing at noon, the Youth Powwow will continue until 5:00 pm, culminating in an unforgettable award ceremony.

This showcase of youthful talent and cultural heritage will undoubtedly leave a lasting impression on all who attend.

Red Earth Fallfest is a family-friendly event, and admission is free for all. Attendees are encouraged to bring their lawn chairs and picnic baskets, as they indulge in a day of festivities, cultural immersion, and cherished memories.

Red Earth Fallfest is made possible through the generous support of Allied Arts, Changing Winds Society, Chickasaw Nation, Cricket Wireless, KFOR News4, Kirkpatrick Family Fund, National Endowment for the Arts, Oklahoma Arts Council, OKC Powwow Club and Tinker Federal Credit Union

To participate in the Red Earth Parade or for additional information, please visit the official website at www.redearth.org or contact (405) 427-5228.

CHICAGO — More than 500 workers at the Art Institute of Chicago and its school who were in the vanguard of a union-organizing wave by museum staffers in Chicago have ratified their first contract.

By an overwhelming vote, the workers approved a four-year agreement that over its life will increase wages from 12.25% to 16.25%, with lower-paid staff getting the largest percentage gains. The contract approval was announced Tuesday in a joint release from the museum and the workers’ union, the American Federation of State, County and Municipal Employees.

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Anders Lindall, spokesman for AFSCME’s Council 31, said workers will get immediate wage hikes from 3.25% to 5.5%, plus a one-time bonus of $1,100 to $1,300 based on seniority. Lindall said around 350 workers attended ratification meetings in the last week, with about 95% favoring the contract.

“We got a lot of good wins in the contract,” said Briana Shucart, a member of the union’s bargaining committee. “We had a lot of ground to cover” during 53 bargaining sessions, she said.

She highlighted rules governing grievances, layoff notices and job recalls and a commitment for regular labor-management meetings.

Shucart said many worker concerns grew from cutbacks ordered after the onset of COVID-19.

“The pandemic was a moment where people realized companies are not going to be there for them,” said Shucart, who has worked in enrollment marketing at the school for more than two years.

The museum joined the workers in praising the agreement.

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“The Art Institute deeply values its employees and is happy to have reached a contract agreement that meets the needs of our staff and allows us to continue providing a world-class education and cultural experience,” Alexandra Holt, executive vice president for finance and administration at the Art Institute of Chicago, said in the joint news release.

Museum staffers, joined later by those at the School of the Art Institute of Chicago, began their campaign for union recognition in 2021 and started bargaining in May 2022. The employee groups are technically separate but they negotiated jointly as Art Institute of Chicago Workers United.

Following their activism, workers at other museums and cultural institutions in Chicago affiliated with AFSCME. The union has signed up members at the Field Museum, the Museum of Science and Industry, the Peggy Notebaert Nature Museum and the Newberry Library. They are in various stages of contract talks.

The Art Institute agreement boosts the minimum wage to $17 an hour and $18 in 2025. Lindall said the wage floor prior to the deal was $15.80. He said money will continue to be available for merit raises.

The employer agreed to pay a higher percentage of health insurance premiums after the contract’s first year.

RELATED: Striking writers and studios will meet this week to discuss restarting negotiations

AFSCME also represents about 600 nontenure-track faculty at the School of the Art Institute, where bargaining continues.

(Source: Sun-Times Media Wire – Copyright Chicago Sun-Times 2023.)

Art Uptown Gallery” data-image-selection=”{“x1″:0,”y1″:0,”x2″:1500,”y2″:1125,”width”:1500,”height”:1125}”>

By now, big changes to downtown Sarasota are nothing new, but here comes another that will alter the Main Street strolling experience forever. After 43 years, Sarasota’s longest-standing art gallery, Art Uptown Gallery, is closing at 5 p.m. on Saturday, Aug. 26.

The close is due to a change in property ownership this summer that would bring the rent into the current market rate sphere by at least quadrupling it—a rate the nonprofit gallery just can’t afford.

A sign in the window bids the public farewell.” data-image-selection=”{“x1″:0,”y1″:22,”x2″:516,”y2″:679,”width”:516,”height”:657}”>

On June 7, the long-time previous owners sold to local commercial real estate mogul Christopher Brown, under the LLC, Big Lot, for just over $2.7 million. The sale was brought on by the unexpected death of one of the previous owners, art lover and Sarasota resident Ellen Heritage, whose “mourning widow just wanted to liquidate,” says Evelyn McCorristin Peters, who is among the gallery’s resident artists and also serves as its treasurer.

“Ellen Heritage was a kind woman and supported the arts. She was the only reason we were able to be there,” Peters says.

Thanks to Heritage’s patronage, the 27 artists who led the gallery each paid just $150 in dues every month, which in large part paid for the $1,000 monthly rent.

“It gave us an opportunity to flourish as artists and help the ones living from their art. At some point in time, it would have ended but we didn’t expect it to happen now,” Peters says.

Under the new ownership, the rent was set to jump to $4,000 in the short term and the long-term rate would be $7,000 a month.

“There was no possibility to afford that,” Peters says. “We thought about not having paid staff, [the gallery has two employees], but we realized there was just nothing else we could do.” But she also says the increases are understandable. “I know that people who make the investment want to make the going rate,” she says.

And that rate, for a roughly 2,000-square-foot commercial storefront space in the heart of downtown Sarasota, is “anywhere from $8,000 to $10,000 a month,” according to the new owner, Brown, who would know. He owns 35 pieces of commercial property across the county and is the landlord at the Mexican restaurant El Melvin just a couple doors down from the gallery. He also owns Joe’s, the Summer House, The Cottage, The Hub Baja Grill, The Beach Club and Mad Moe’s Sports Pub and Grill, among other high-profile locations. We wrote about the hospitality investor here when his portfolio first caught our eye.

“It’s unfortunate,” he says of the gallery closure. “I like to support the arts and thought I was by offering $4,000 at first. But they wanted to negotiate substantially from there. They weren’t even paying insurance and taxes. It was possible because the previous owners had paid off the building, so it was all just profit for them.”

The gallery, unpretentious and inviting, is run by and for 27 local year-round resident artists who do everything from sculpture to glass, mosaic, ceramics and oil and acrylic paintings. What made it different from most galleries is that only 20 percent of each sale was garnished by the gallery. In many places, that number is upward of 50 percent. The artists also set their own prices, and pieces can range anywhere from less than $100 to $7,000. When resident artist and gallery member Marlane Wurzbach greeted shoppers and browsers, she encouraged questions and said, “I know all the artists because I”m one of them.”

Art Uptown Gallery artist Marlane Wurzbach’s work at the gallery. This series focuses on historic local buildings.” data-image-selection=”{“x1″:0,”y1″:50,”x2″:949,”y2″:883,”width”:949,”height”:833}”>

When there were decisions to be made, they didn’t always agree, but they voted and the majority won. “We were in control of everything,” Wurzbach says.

Although the foot traffic at its central location is unmatched, the value sat beyond its walls.

“In a lot of galleries, the artists don’t get to meet each other,” Peters says, “It was a real support system as well.”

They hosted and organized their own exhibitions, with members coming in on the last Saturday of every month to hang their work and strategize for future events. They plan to continue meeting informally and Wurzbach says it won’t stop her from producing. The gallery’s website will have updates and continue to be a placeholder for the artists, which leads users to each artist.

“I’m hoping we’ll all think of each other to recommend each other if someone finds a new gallery to work with,” Wurzbach says.

Some artists will take a break, others will move to their working studios and some will move to new galleries, and they’ll continue to work and sell online. “Everyone will have to go back to marketing themselves. You have to market yourself more than you work,” Peters says.

Eight art studio units on the second floor are remaining, where artist tenants are paying little to stay—for now.

As for the gallery space, “it won’t be vacant for 30 days. It can be retail or restaurant. There’s been lots of activity and interest,” Brown says. The new lease will be roughly $10,000 a month. “Plus, they’ll pay their share of taxes and insurance,” he says. “But I would like people to know that I tried to work with the gallery.”

According to Sarasota County records, the building at 1367 and 1373 Main St. was built in 1909. Although it’s not specifically designated as historic, it is part of the overall downtown historic district on the ​​National Register of Historic Places. (Read more about its history here.)

Another beloved destination next door was included in the same deal. Cafe Amici at 1373 Main St. sold in the same transaction for $780,400, representing a total of $3,500,100 for the buyer.

The Italian fine dining restaurant Cafe Amici, located at 1373 Main St., is staying—for now.” data-image-selection=”{“x1″:0,”y1″:0,”x2″:1170,”y2″:591,”width”:1170,”height”:591}”>

Cafe Amici has been a family-owned classic Italian fare favorite for almost 24 years. Although it’s staying for now, pending negotiation on the new rent, its rent has roughly tripled overnight, says Massimo Nigri, who co-owns the restaurant with his brother Achille.

Amici’s lease is up in April, and although Nigri says the new owner would like them to stay (no wonder; have you tried their ossobuco?), he’s weighing other potential locations where the brothers would own both the successful business and the building. As for the sudden rent hike, “it’s not his fault,” Nigri says “It’s all of downtown. Rents are getting crazy.”