Sherry Kass, Colorado - MEET THE COLLECTOR Series Part Six

For the sixth part of my MEET THE COLLECTOR series I thought I would focus on Sherry Kass who lives in Denver, Colorado who collects Outsider Art and Contemporary Folk Art. It all began when a friend of hers introduced her to a bunch of artists she and her partner had visited in the south of America. Read on for more in part six of my ‘Meet the Collector’ series …

The Collector Sherry Kass

1. When did your interest in the field of outsider/contemporary folk art begin? When did you become a collector of this art?
I had just met my new friend in a Dadaism workshop. Still, to this day, I don't understand what the hell it is. What I did get out of this class is one of my dearest friends and an introduction to Outsider Art. Shortly thereafter we were invited to their charming apartment for dinner. They had just come back from a road trip in the south. They said they met outsider artists at their homes and environments. We said, ‘huh?’ Our friends proceeded to show us their treasures. Our jaws dropped. We LOVED it! We were stunned with the originality and pure joy of the art. All I remember is that some of the work was by Mose Tolliver, Jimmy Lee Sudduth and another guy who would draw his work on paper, complete it, then tear out sections of it and sell those sections. I do not know his name, but it was great. My friend had grown up in Alabama and was not too far from Howard Finster’s Paradise Garden. She used to visit because she thought it was cool. She knew a bit about folk artists. It’s really all of her and her husband’s fault that we got hooked! That’s how the addiction started, about a thousand years ago … 1993!

2. Can you tell us a bit about your background?
I started working in fashion for about 12 years. My father worked in a women’s specialty store (as a treasurer). I was good at my work but never enjoyed it. I was in the business side of apparel, not the creative side. I was 21 years old and trying to fulfill my parents expectations. ICK! My husband and I grew up in Kansas City (Kansas and Missouri). When I was 30 years old we agreed to get the hell out of Dodge. We moved to Colorado Springs because it was so beautiful. We didn’t know about the per-dominant religious right. Exit stage right (sorry for the pun) to Denver. Getting away from my family, I finally had permission to paint. I painted on anything that didn't move!

Robert Howell bird and Vollis Simpson Whirligig in Sherry’s garden

3. What is it that draws your eye away from contemporary art to outsider/contemporary folk art? Or do you collect both?
We only collect outsider art/contemporary folk art. For me, it’s the self-taught component; the desire to create for one’s self and not be aware of an art market and what sells. These artists are my mentors. They speak the gospel (the truth). I learn so much from them.

4. What style of work, if any, is of particular interest to you within this field? (for example is it embroidery, drawing, sculpture, and so on)
No focus, just whatever looks at us in the right way. It is important that the art excites us, whatever that may be.

5. Would you say you had a favourite artist or piece of work within your collection? And why?
No I do not have a favourite piece of art or artist. Certainly through the years some of our taste has changed. When they happens we sell it and use the money to buy new art.

6. Is there an exhibition in this field of art that you have felt has been particularly important? And why?
Corcoran Gallery of Art, Washington DC – 1982. ‘Black Folk Art in America’ featured: Mose Tolliver, Joseph Yoakum, Elijah Pierce, David Butler, Sam Doyle, Sister Gertrude Morgan, Nellie Mae Rowe, Bill Traylor, Son Thomas, amongst others. Most had never been heard of. With this groundbreaking show, they would finally start to get recognition of their fabulous work. Now, outsider art was put on the map and legitimised.

Sherry’s Cowgirl Oasis in her garden

7. Where would you say you buy most of your work from: a studio, art fairs, exhibitions, or direct from artists?
Early part of our collecting (1990s-2000s) we would go and visit the artist (mainly from the south). It was a great privilege to meet them and see a large body of their work. Here are some of the artists we met: Ree Brown, Charlie Lucas, Mose Tolliver, Robert Howell, Dwight Macintosh, Judith Scott, Tubby Brown, R.A. Miller, Vollis Simpson, Annie Tolliver, James Harold Jennings, Joe Light, Howard Finster, Edward Larson and Henry Bridgewater. Actually I didn’t meet Henry, but I corresponded with him and bought work from him through the Louisana State Penn. Certainly, an interesting process! Later, we've bought pieces at the Outsider Art Fair in New York, galleries (nationally and internationally), through articles I have seen in Raw Vision and some antique stores.

8. As you have a large collection now, what sort of pieces are you looking to continue to add to your collection?
We will continue to collect art that peeks our curiosity, that makes us think or laugh or touches our heart.

9. Have you ever exhibited your collection outside of your home, or do you any plans to? From photos I have seen of your home, it seems like a work of art in itself!
No, we have never exhibited any of our collection outside of our home.

Inside Sherry’s home

10. Do you ever loan pieces out from your collection and, if so, what would make you want to loan the work out to particular shows?
Our home is an environment in itself. I have created this with out outsider collection, my art, my assemblage and installation pieces, which is all over our home. Everywhere one looks there is art. To remove any of this would be to leave a hole. That wouldn’t make me happy. With that said, I would welcome people into our home.

11. A conflicted term at present, but can you tell us about your opinion of the term outsider art, how you feel about it and if there are any other words that you think we should be using instead?
Outsider Art, do I like the term? Yes. For me, it says that the self-taught artist is creating art outside the realm of the pretentious, over articulated art world. They don't give a damn! They are not asking themselves "What is this?" They just create to tell a story or not. They create solely for themselves. They work "Outside" the perimeters of all the insipid philosophical BS of art critics, and most collectors. Our need (art collectors, historians, and gallery owners) to coin an intellectual term, is a desire to feed our ego! In fact, for the most part, all of that hoopla mostly doesn't exist for them. I say, STOP OVER ANALYZING! At this point, most of us recognize the term Outsider Art. It immediately tells us the genre. Let it rest.

12. Is there anything else that you would like to add?
My advice is to collect what you love. Don’t think too much. Don’t think in terms of ‘where will this go?’ That comes later. Buy it when you know it’s right otherwise you will kick yourself later.