• Outsider Art Fair
    March 19 – 22, 2026
    New York
  • Dutton is pleased to exhibit works by: Ted Diamond Rose deSmith Greenman Selby Warren Robert Rapson Naomi Bushman Alan Constable...

    Dutton is pleased to exhibit works by:

     

    Ted Diamond

    Rose deSmith Greenman

    Selby Warren

    Robert Rapson

    Naomi Bushman

    Alan Constable

    Adrian Jangala

    Betty Tyson

    Anonymous 

     

  • Ted Diamond made gouache paintings on paper – intense portraits, dense crowd scenes, patients in the psych ward. Exceptionally raw,...

    Ted Diamond, Untitled (Young woman in white stole), 1970-1986, Mixed media on paper, 8 x 4.75 inches

    Ted Diamond made gouache paintings on paper – intense portraits, dense crowd scenes, patients in the psych ward. Exceptionally raw, emitting crackling energy and deeply affecting, through keen draughtsmanship and superb color sensibility, the work evokes James Ensor and Francis Bacon with reverberating power beyond their intimate scale.

     

    In 1966, art dealer Stuart Denenberg was sitting in his Boston gallery on Newbury Street at the age of 22 – Ted Diamond was 27, elusive, a bit “pixelated”, walked in with his drawings. Denenberg knew what his eyes told him – the gouache paintings were special – he immediately purchased two self-portraits that to this day he lives with and admires.

  • Seemingly out of nowhere, Rose deSmith Greenman (b. Boston, MA), began drawing exultant, radiant vessels and trees obsessively in her...

    Rose deSmith Greenman, Untitled (R deS Greenman), n.d., Pencil on paper, 5 1/4 x 4 1/4 inches

    Seemingly out of nowhere, Rose deSmith Greenman (b. Boston, MA), began drawing exultant, radiant vessels and trees obsessively in her 70s over a period of seven years while struggling with Alzheimer's disease. Spending most hours alone, she used pencils, pens, crayons and markers to interpret her world virtuosically - creating demur, constrained drawings of her home, garden, neighborhood in Boston, and family as well as transformative works from her imagination out of saved scraps of paper from family members. Greenman's diminutive vessels and larger botanical and architectural works embody a markmaking which is woven as tightly and expressively as it possesses an all-encompassing reverence and boundlessness.

  • Selby Warren (1887-1979) was an Australian bushman who spent his life in the small settlement of Trunkey Creek and began...

    Selby Warren, River, Black Clouds, 1972, Oll on board, 29 3/4 x 22 5/8 inches

    Selby Warren (1887-1979) was an Australian bushman who spent his life in the small settlement of Trunkey Creek and began making visual records of his life experiences in 1963 on found materials using brushes he made with his own hair. that are elemental and soul-stirring. Memory paintings are anchored in rural scenes of his life shearing, as a stockman, itinerant laboring, and in expressions of rural folklore; poems and ballads he liked to recall; iconic Australian landmarks and political figures, fusing his paintings with elaborate frames that are constructions. 

     

    Discovered when he was 85 years old when a painting was seen hung at local pub the Black Stump, Warren drew a great deal of attention over a period of three years after his first exhibition at the age of 85 at Rudy Komon's legendary gallery in Sydney in 1972 - followed by exhibitions in Melbourne and Brisbane which led to much critical and media acclaim. As Komon remarked Warren was "one of Australia's greatest art finds"... "one of a half a dozen like him in the world." 


    "I've lived in the bush all me life. I've seen things that don't happen in Australia any more...So when I took up painting I was able to put it all down."
    -Selby Warren, in Lenore Nicklin, 'Bush painter waltzes in', Sydney Morning Herald, 24 February, 1972

  • Robert Rapson (1951-2020 b Wellington, New Zealand), was a self-taught artist who begun making ceramics in his 40s after working...

    Robert Rapson, Disney Cruise Line, 2000, Glazed ceramic, 14 x 2 x 3 inches

    Robert Rapson (1951-2020 b Wellington, New Zealand), was a self-taught artist who begun making ceramics in his 40s after working as a baker. Densely patterned ships are imprinted with his fingers leaving choppy, impasto imprints in the sculptures which become one and the same with swirling seas the ships cut across. Rapson’s fascination with passenger ships came from an early age as he watched the fanfare and bands that accompanied their arrival and departures from Wellington harbor and visited his father who worked on the wharf. As a teenager he sailed to Europe on the Italian liner “Angelina Lauro”. Storied vessels of cultural and historical significance and the romantic idea of the long voyage become charged monuments which, as Rapson explained bears “witness to history and change.” 

  • Naomi Bushman (b 1946, New York), A mathematician who taught math all of her life within a self-proclaimed world of...

    Naomi Bushman, Untitled, 2025-26, Glazed ceramic, Variable

    Naomi Bushman (b 1946, New York), A mathematician who taught math all of her life within a self-proclaimed world of abstraction, Bushman discovered ceramics ten years ago. Which, as she puts it: "gave me permission to play". Living downtown, Bushman has always dreamed of life as an artist. 

  • Alan Constable's singular sculptures of cameras, telescopes, projectors, and binoculars are imbued with a heightened tactility and inner life. Legally...

    Alan Constable, Untitled, 2025, Glaze, earthenware, 10 5/8 x 3 1/2 x 9 inches

    Alan Constable's singular sculptures of cameras, telescopes, projectors, and binoculars are imbued with a heightened tactility and inner life. Legally blind and deaf, Constable is renowned for his ceramic cameras that reflect his life-long fascination with old cameras, when he began constructing replicas of cameras from cereal cartons and glue at the age of eight. At the studio Constable holds research images or source objects millimetres from his face, committing the form to memory by tracing the surface with his fingertips. Every protrusion, button, and lens of a specific camera model is faithfully captured in intricate detail, down to tiny scrawled lines and letters. Form and perspectives shift and Constable’s re-interpretations become at times anthropomorphic vessels and totems.

    The curator Matthew Higgs stated that "Constable, who is legally blind, makes incredible ceramic sculptures of cameras, which should, in my opinion, be in every major museum collection."

  • Adrian Jangala Robertson (b. 1962) is a Warlpiri artist born in Papunya and based in Mparntwe/Alice Springs. A landscape painter,...

    Adrian Jangala Robertson, Yalpirakinu, 2017, Acrylic on canvas, 18 1/4 x 11 3/4 inches

    Adrian Jangala Robertson (b. 1962) is a Warlpiri artist born in Papunya and based in Mparntwe/Alice Springs. 

    A landscape painter, Robertson works with a predominantly restricted palette. His paintings consistently refer to the desert mountains, ridges and trees which are part of Yalpirakinu. His brushwork is loaded with energy, drama and memories. He is a deliberate and thoughtful painter; reworking, pushing and pulling the image to completion.

    In 2002 Adrian joined The Bindi Mwerre Anthurre Artists: a supported art studio in central Australia for First Nations artists living with disability. Since then, Robertson has accumulated numerous awards, with many of his works being acquired into prominent collections including the ARTBANK Collection, Museum And Art Gallery, Northern Territory, the Art Gallery Art Gallery of New South Wales.

  • Betty Tyson's drawings provide a rare insight into the inner world of an Australian teenage girl. Her works include drawings...

    Betty Tyson, Untitled, 1939-1942, Pencil on paper, 6 3/4 x 8 inches

    Betty Tyson's drawings provide a rare insight into the inner world of an Australian teenage girl. Her works include drawings and comments concerning her friends and classmates; illustrations to short stories on “the pupils of class 1A, St Elizabeth’s, Sydney [fictitious school]” and the “prefects of 1942.” 

     

  • Anonymous drawing, Likely 1730, from the Monastery of St. Gall While the artist (or artists) cannot be identified, the dress...

    Anonymous Drawing with collaged 16th century engravings, 1730, Pen and sepia ink on parchment paper, 17 1/4 × 12 3/4 inches

    Anonymous drawing, Likely 1730, from the Monastery of St. Gall

    While the artist (or artists) cannot be identified, the dress of the individual portrayed as well as features of the German are consistent with southern Germany and Switzerland in the 18th century. Quotations of bible verses that were proof-texts for the mortification of the flesh as well as images of the flagellum and cilice suggest a monastic context, and very likely a monk.