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Following the global pandemic, young, unproven artists saw their works rapidly ascend from gallery walls to the auction block, setting impressive records. However, over the past two years, this trend has declined due to rising interest rates and geopolitical and economic uncertainties. Today, the art market exhibits a more fragmented nature with increased emphasis on quality.
According to advisers speaking to ARTnews, savvy collectors are now putting more emphasis on value. They are moving away from recently popular figurative works and exploring less recognized areas of art history. In the previous year, attention shifted towards overlooked modernists and Indigenous artists. Looking ahead, outsider art, sometimes referred to as "self-taught art," is expected to draw interest from collectors seeking hidden treasures.
Last week, Christie’s conducted a 145-lot auction focusing on outsider art, part of a series initiated in 2016. Although this year’s auction saw moderate success, generating just over $1.8 million with a sell-through rate of 90% by lot, it fell short of the $2.5 million attained in 2024. Despite this, standout performances were observed, with William Hawkins setting auction records twice in one sale.
Cara Zimmerman, Christie’s head of Americana and outsider art, notes a growing interest in art created by people from diverse backgrounds. Collectors familiar with modern and contemporary art are now looking to fill gaps with outsider art—typically created by self-taught artists without formal training or affiliation with major institutions. The growing inclusion of outsider works in major exhibitions, as pointed out by Valérie Rousseau of the American Folk Art Museum, signals a shift in acknowledging who is considered an 'artist.'
Recent exhibitions have prominently featured outsider artists. Shows such as MoMA’s “Projects: Marlon Mullen” and the Met’s “Mary Sully: Native Modern” have showcased the talents of self-taught creators, as has the exhibition by Hauser & Wirth featuring Thornton Dial. Meanwhile, major museums like MoMA and the Met continue to recognize these artists, highlighting a "new normal" in the art world.
At Christie’s recent sale, works by artists like Amos Ferguson and James Castle achieved sales well above estimates, showcasing their increasing appeal. It’s observed that auction houses and galleries often emphasize the personal backgrounds of outsider artists, though this approach is sometimes critiqued for exoticizing these creators.
Outsider art tends to be free from art historical conventions, offering an antidote to more mainstream contemporary art. According to Andrew Edlin, the CEO of the Outsider Art Fair, the beauty of outsider art lies in its raw creativity, untethered to conventional trends or academic training.
Prominent exhibitions have recognized the value of outsider art, integrating it within prestigious venues. The 2024 Venice Biennale, under Adriano Pedrosa, featured historical sections that displayed outsider artists alongside renowned modernists, further validating their significance.
Ralph DeLuca urges collectors to look beyond traditional labels and embrace outsider art to better navigate the changing market. DeLuca emphasizes the diminishing relevance of categorizing artists by their educational background and encourages a more inclusive approach to art collection.
Whether the interest in outsider art becomes a mainstream embrace remains to be seen. Andrew Edlin advises those interested in expanding their collection to remain steadfast in their convictions and approach art with passion rather than speculation.
“Art should be a breath of fresh air, a personal expression, and not merely a commodity,” Edlin states. For those eager to explore further, the Outsider Art Fair will open in New York on February 27, running until March 2. This event presents a prime opportunity for collectors and enthusiasts to engage with art that defies convention.
