Title : "Covering New York’s Outsider Art Fair the year after [Jim] Carrey’s debut there, in 2020, I encountered Quebecois figurines discovered by an American antique picker; an artist who learned to tool leather in a Southern prison; and a former bus driver who moved to Chelsea to paint."
link : "Covering New York’s Outsider Art Fair the year after [Jim] Carrey’s debut there, in 2020, I encountered Quebecois figurines discovered by an American antique picker; an artist who learned to tool leather in a Southern prison; and a former bus driver who moved to Chelsea to paint."
"Covering New York’s Outsider Art Fair the year after [Jim] Carrey’s debut there, in 2020, I encountered Quebecois figurines discovered by an American antique picker; an artist who learned to tool leather in a Southern prison; and a former bus driver who moved to Chelsea to paint."
"I knew these backstories because the dealers made a point of sharing them, and I included them in my review both as explanatory context and because I found them interesting. But while the figurines and leather were certainly more accomplished than Carrey’s cartoons, the basic components on offer — an art work and its story, or an object and its personality — were exactly the same. And any type of backstory gives you an entry into the work. The Quebecois artist, Cléophas Lachance, built an entire miniature village in his Lafontaine backyard, and Jim Carrey starred in 'The Mask.'"
Writes art critic Will Heinrich in "Art is an object plus a story. Even for Hunter Biden’s pricey paintings. The way a work is talked about and identified is always part of the way we experience it" (WaPo).
There is a big difference between Carrey — and other famous people (including Bob Dylan) who leverage celebrity to access art buyers — and Hunter Biden. Heinrich acknowledges this difference in one sentence tucked away as inconspicuously as possible:
A concern for the Bidens — and the rest of us — is that collectors might attempt to buy influence along with their art; the White House has tried to deal with this by drafting an agreement with the gallery to keep buyers’ identities secret, even from the artist.
But that's not what he wants to write about. His topic is the way "ethics aside, many people simply object to the idea of a neophyte artist making so much money — or gaining recognition and what looks like legitimacy — just because he’s already famous."
Thus articles "Covering New York’s Outsider Art Fair the year after [Jim] Carrey’s debut there, in 2020, I encountered Quebecois figurines discovered by an American antique picker; an artist who learned to tool leather in a Southern prison; and a former bus driver who moved to Chelsea to paint."
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