Inside the Outside: Five Self-Taught Artists from The William Louis-Dreyfus Foundation

In the Beitzel and Righter Galleries
July 19, 2015 – October 11, 2015


The self-taught genre remains one of the most complex and intriguing themes in modern and contemporary art. This exhibition brings together highlights from the extraordinary collection of William Louis-Dreyfus and features a focused look at five artists – James Castle, Thornton Dial, Nellie Mae Rowe, Bill Traylor, and Willie Young – who eschewed formal training to embark on their separate journeys, resulting in astoundingly open and imaginative bodies of work. Though these artists started creating their work late in life, they were driven by an inexorable urge to respond to personal visions and aspects of their daily lives. With more than sixty works on view, this exhibition showcases some of the finest examples of self-taught art in any private collection.

Support for Inside the Outside is generously provided by Deborah Mullin and John Chatzky. The Katonah Museum of Art is supported in part by ArtsWestchester with support from the Westchester County Government, the New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature.

Image Credit
Thornton Dial, The Reservoir (detail), 1990, Oil on Canvas


Emilie Clark: The Delicacy of Decomposition

In the Project Gallery
July 12, 2015 – September 6, 2015

Artist Emilie Clark uses her family’s preserved food waste to create installations that retain the quality of old-world still life paintings. As part of a larger collaboration with the Fairfield/Westchester Museum Alliance on the Seven Deadly Sins, the KMA explores the idea of Gluttony – a term expressing excessive self-indulgence as well as over-consumption.

Gallery talk by artist and opening reception: July 19th at 1 pm.

Image Credit
Emilie Clark, Sweet Corruptions, 2012-13 (detail). Wood table on two bases, desiccated food waste, and semi-solid and liquid waste in sealed mason jars, 42 x 96 ½ x 24 inches. Courtesy of the artist and Morgan Lehman Gallery.

Barnes Private Residence, 1952, Relocated, 2015

In the Sculpture Garden
March 29 – October 11, 2015


Tying the remarkable history of the relocation of Katonah to the building of the Katonah Museum of Art by local architect Edward Larrabee Barnes, Chris Larson has replicated Barnes’ private Mt. Kisco home at full scale in the sculpture garden. With a nod to the Katonah narrative, he constructs the modernist structure as if it were dragged in on logs, elevated on timber cribbing, and pierced through by the Norway spruce trees. A 2014 Whitney biennialist, Larson is a multimedia artist known for his sensitive and often dramatic responses to architectural environments and histories.


The exhibition is made possible by Ginny and Martin Gold, Susan and Peter MacGill, and Melissa Vail and Norman Selby. Generous in-kind assistance was provided by John Sullivan of Sullivan Architecture, P.C, White Plains.

Funding for this exhibtion is also provided in part by ArtsWestchester with support from the Westchester County Government, the New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature.

Image Credit
Chris Larson, Studio Unhinged, 2015. Installation of mixed media wood, paneling, local second-hand goods, carpet from the Beitzel gallery, fluorescent lights, paint and cardboard. Courtesy of the artist, St Paul, MN


Glass Elevator by Stephan Moore

In the vestibule
January 18 – Summer 2015

Glass Elevator is a sound installation for the glass-walled vestibule at the Katonah Museum of Art in Katonah, NY. As a visitor passes through the space, a quiet droning sound can be heard, which could easily be mistaken for the sound of typical building systems. When all of the doors are again closed, the space is suddenly transported, by sound, to another location — an example of audio cinema, or, in R. Murray Schafer’s term, schizophonia. Whether anyone lingers in the space to experience these sounds is another matter — the piece hides itself from all but the most curious. The title refers to the fictional mode of transportation used by the eccentric confection magnate Willy Wonka in novels by Roald Dahl: a transparent elevator capable of traveling in any direction, and even into outer space

Glass Elevator (2014)
by Stephan Moore
Sound Installation for the vestibule of the Katonah Museum of Art
Medium: Audio transducers, sensors, microcontroller, computer with custom software, and recordings.


John Ruppert

On the South Lawn
May 2014 – May 2015

John Ruppert transforms prison-grade metal chain link into vessel-like forms that define volume yet remain ethereal and porous. At the KMA, the intense yellow industrial fencing is an unexpected element in the landscape, as is the mesmeric effect of the material’s shifting patterns. Ruppert’s 14-foot tall sculpture simultaneously contrasts and compliments its verdant surroundings. The artist created the piece specifically for the KMA campus.

Image Credit
John Ruppert
Yellow Orb/Homage to Van Gogh, 2014
Stainless steel and powder-coated chain link
122 inches high x 108 inches in diameter
Courtesy of the artist