I met New York Abstract Expressionist Michael Goldberg in 2001 and worked with him until his passing at the age of 83 in late 2007. Watching him paint, reading books from his vast library and being a part of his life was a blessing that I thank the universe for. Last month I was approached by the Head Conservator from The Smithsonian Museum to work with her on a project to document the working practice and materials of the late artist. The Museum's collection includes a range of paintings spanning Goldberg's career and in a small way, I get to contribute to American history and the preservation of the legacy of this fantastic artist! [caption id="attachment_7130" align="alignleft" width="564"] Sardines, 1955 Michael Goldberg. Collection of the Smithsonian Museum[/caption]

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Need a little meditative space? Rachel Ritchford is a painter in pursuit of meditative environments. She earned her MFA from the School of The Art Institute of Chicago and BFA from Herron School of Art in Indianapolis. She has received numerous awards including a Trustee Scholarship (SAIC), Dedalus Foundation Fellowship, Graduate Grant (SAIC), and the Ellen Batell Stoeckel Fellowship (Yale University) amongst others. She has attended residencies at Yale University School of Art, Norfolk and internationally in Nitra, Slovakia; and in Amsterdam. Rachel has participated in solo and group exhibitions throughout the U.S. and Europe, she lives in Brooklyn, NY. [caption id="attachment_6910" align="aligncenter" width="700"] Landscape with Expressive Gesture, Rachel Ritchford 2013[/caption]

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Max Greis: “I create landscapes that fuse the past together with the present and the future. Drawing from the influences of Asian and surrealist landscapes, old magazines and museum dioramas, I create what I like to call archaic armageddons.” Greis' print portfolio includes epic paintings and photographs of elaborate, hand made dioramas that nostalgically explore the complex, changing nature of our world Greis completed his post graduate studies at Hunter College in New York City and has exhibited in galleries including Pavel Zoubok Gallery, Edward Hopper House Art Center and the National Arts Club. Greis lives and works in New York City. [caption id="attachment_6837" align="alignleft" width="800"] Brief Eternity, Max Greis 2010[/caption]

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Want to 'try before you buy'? Now you can! TWFineArt's Guideshop is a place where you can come in and be inspired. Our guides will work with you 'one on one' to curate the perfect selection of artwork for your space. We are opening in Brisbane's Fortitude Valley, Shop 4 Centro 2 @ 31 James St - June 9. Schedule an appointment with us or come on in for an easy, personal shopping experience. It's like no gallery you've ever seen.                              

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When I think about these words by Jeanette Winterson, I can't help but think of the work of the outsider artist. The term ‘outsider art’ was coined in 1972 as an English equivalent of the French term ‘art brut’, which literally translated means raw art. It basically refers to unrestrained artwork created by self-taught, fringe dwellers such as folk artists, the mentally ill, the incarcerated, the recluse and the eccentric. In other words, artwork created by those unbound by the cultural norm. Because such artists are removed from cultural and academic standards, it is believed that a purely creative impulse motivates and drives their work. Canonized artists seeking a new, raw form of expression beyond the academicism of western tradition like Picasso, Klee, Matisse, Miro & Dubuffet developed a keen interest in this impulsive form of art making. They collected the work of outsider artists & used their imagery as a source of inspiration for their own art. Check out the relationship below between ‘Totem’ by outsider artist Gaston Chaissac (left) & ‘Figure’ by Pablo Picasso (right).

Contemporary artists such as TWFA's Chris Retsina still draw inspiration from outsider art - See below 'Ghon Fucci #3' by Chris Retsina. There is a raw quality to this type of work that is engaging and confronting on a primal level. In these cases, what may appear clumsy or untrained is actually a deliberate neglect of academic technique and a disregard for the norm or the expected, a pursuit of creative freedom. The practice of the outsider artist is essentially rebellious and pure, with an innocence that is very compelling if you rid yourself of expectation and see beauty in aesthetic relationships beyond the cultural norm. Let's be honest, we all strive to be different, free, and Outsider Art is an uncontrived realization of this ambition.  

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