“Deposing Dualities in Prospect 3.” Prospect 3: Notes for Now, Prestel, NY (2014)
‍

Excerpt from the text:

"In the recent past, art institutions have been exploring new strategies for including so-called outsider artists in major group exhibitions. The work of the visionary Texan painter Forrest Bess (1911–1977), who lived and worked in virtual isolation, for example, appeared in the Whitney Biennial in 2011 through a mid-retrospective curated by Robert Gober, with the artist invited to participate in the exhibition. The 55th Venice Biennale in 2013 served as the platform for Massimiliano Gioni’s curatorial interpretation of the encyclopedia of Marino Auriti (1891–1980), an Italian-American car mechanic and self-taught artist based in Pennsylvania who created a model of a 136-story building to house all the knowledge of the world. The exhibition included works by humans, seekers, and even the psychologist Carl Jung, indistinguishable from the contributions of professional art world artists. These large-scale group exhibitions represent some of the ways in which major institutions are addressing and negotiating the taxonomies of work made by outlier artists—who could be described as outsider, self-taught, folk, vernacular, naïve, visionary, et cetera—and devising methodologies for their inclusion in a more mainstream discourse..."

Related:

“Deposing Dualities in Prospect 3.” Prospect 3: Notes for Now, Prestel, NY (2014)
Prospect New Orleans

Home
About
Exhibitions
Essays
Press
CV

‍Christine Y. Kim © 2026. Site Credit: Common Space