Outsider Art
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- This page is about a type of art. For the band see Art Brut (band).
The term Outsider Art was coined by art critic Roger Cardinal in 1972 as an English synonym for Art Brut (which literally translates as "Raw Art" or "Rough Art"), a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused particularly on art by insane asylum inmates.
While Dubuffet's term is quite specific, the English term "Outsider Art" is often applied more broadly, to include certain self-taught or Naïve art makers who were never institutionalized. Typically, those labeled as Outsider Artists have little or no contact with the institutions of the mainstream art world and they often employ unique materials or fabrication techniques. Much Outsider Art illustrates extreme mental states, unconventional ideas, or elaborate fantasy worlds.
Outsider Art has emerged as a successful art marketing category (an annual Outsider Art Fair has taken place in New York since 1992); thus the term is sometimes misapplied as a catch-all marketing label for art created by people outside the "art world" mainstream, regardless of their circumstances or the content of their work.
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Art of the Insane
Image:Madge Gill artwork.jpg Interest in the art of insane asylum inmates had begun to grow in the 1920s. In 1921 Dr. Walter Morgenthaler published his book Ein Geisteskranker als Künstler (A Psychiatric Patient as Artist) on Adolf Wölfli, a psychotic mental patient in his care. Wölfi had spontaneously taken up drawing, and this activity seemed to calm him. His most outstanding work is an illustrated epic of 45 volumes in which he narrates his own imaginary life story. With 25000 pages, 1600 illustrations, and 1500 collages it is a monumental work. He also produced a large number of smaller works, some which were sold or given as gifts. His work is on display at the Adolf Wölfli Foundation in the Museum of Fine Art, Berne. A defining moment was the publication of Bildnerei der Geisteskranken (Artistry of the mentally ill) in 1922, by Dr Hans Prinzhorn.
Jean Dubuffet and Art Brut
French artist Jean Dubuffet was particularly struck by Bildnerei der Geisteskranken and began his own collection of such art, which he called Art Brut or Raw Art. In 1948 he formed the Compagnie de l'Art Brut along with other artists including André Breton. The collection he established became known as the Collection de l'Art Brut. It contains thousands of works and is now permanently housed in Lausanne.
Dubuffet characterized Art Brut as:
- "Those works created from solitude and from pure and authentic creative impulses - where the worries of competition, acclaim and social promotion do not interfere - are, because of these very facts, more precious than the productions of professions. After a certain familiarity with these flourishings of an exalted feverishness, live so fully and so intensely by their authors, we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade." - Jean Dubuffet. Place á l'incivisme = Make way for Incivism. Art and Text no.27 (Dec. 1987 - Feb 1988). p.36
Dubuffet argued that 'culture', that is mainstream culture, managed to assimilate every new development in art, and by doing so took away whatever power it might have had. The result was to asphyxiate genuine expression. Art Brut was his solution to this problem - only Art Brut was immune to the influences of culture, immune to being absorbed and assimilated, because the artists themselves were not willing or able to be assimilated.
The Cultural Context of the Outsider Art category
Image:Alexandre Lobanov Self portrait.jpg The interest in "outsider" practices among twentieth century artists and critics can be seen as part of a larger emphasis on the rejection of established values within the modernist art milieu. The early part of the 20th Century gave rise to cubism and the Dada, Constructivist and Futurist movements in art, all of which involved a dramatic movement away from cultural forms of the past. Dadaist Marcel Duchamp, for example, abandoned "painterly" technique to allow chance operations a role in determining the form of his works, or simply to re-contextualize existing "readymade" objects as art. Mid-century artists, including Pablo Picasso, looked "outside" the traditions of high culture for inspiration, drawing from the artifacts of "primitive" societies, the unschooled artwork of children, and vulgar advertising graphics. Dubuffet's championing of the art of the insane and others at the margins of society is yet another example of avant-garde art challenging established cultural values.
Vocabulary
A number of terms are used to describe art that is loosely understood as "outside" of official culture. Definitions of these terms vary, and there are areas of overlap between them. The editors of Raw Vision, a leading journal in the field, suggest that "Whatever views we have about the value of controversy itself, it is important to sustain creative discussion by way of an agreed vocabulary". Consequently they lament the use of Outsider Artist to refer to almost any untrained artist. "It is not enough to be untrained, clumsy or naïve. Outsider Art is virtually synonymous with Art Brut in both spirit and meaning, to that rarity of art produced by those who do not know its name."
- Art Brut: Raw art, 'raw' in that it has not been through the 'cooking' process: the art world of art schools, galleries, museums. Originally art by psychotic individuals who existed almost completely outside culture and society. Strictly speaking it refers only to the Collection de l'Art Brut.
- Neue Invention: Used to describe artists who, although marginal, have some interaction with mainstream culture. They may be doing art part-time for instance. The expression was coined by Dubuffet too; strictly speaking it refers only to a special part of the Collection de l'Art Brut.
- Folk art: Folk art originally suggested crafts and decorative skills associated with peasant communities in Europe - though presumably it could equally apply to any indigenous culture. It has broadened to include any product of practical craftsmanship and decorative skill - everything from chain-saw animals to hub-cap buildings. A key distinction between folk and outsider art is that folk art typically embodies traditional forms and social values, where outsider art stands in some marginal relationship to society's mainstream.
- Marginal Art/Art Singulier: Essentially the same as Neue Invention; refers to artists on the margins of the art world.
- Visionary Art/Intuitive Art: Raw Vision Magazine's preferred general terms for Outsider Art. It describes them as deliberate umbrella terms. However Visionary Art unlike other definitions here can often refer to the subject matter of the works, which includes images of a spiritual or religious nature. Intuitive art is probably the most general term available. The American Visionary Art Museum in Baltimore, Maryland is dedicated to the collection and display of such artwork.
- Naïve Art: Another grey area. Untrained artists who aspire to "normal" artistic status, i.e. they have a much more conscious interaction with the mainstream art world than do Outsider Artists.
- Visionary environments: Buildings and sculpture parks built by visionary artists - range from decorated houses, to large areas incorporating a large number of individual sculptures with a tightly associated theme. Examples include Watts Towers by Simon Rodia, and The Palais Ideal by Ferdinand Cheval.
See also
External links
- Intuit The Center for Intuitive and Outsider Art, Chicago
- American Visionary Art Museum
- The Prinzhorn Collection, Heidelberg
- Raw Vision Outsider Art Journal
- Outsider Art World
- Fortean Times article on UK outsider art and the Royal Bethlem Hospital Archives
- Paul Salvator GoldengreenDreams and Nightmares
- Adolf Wölfli Foundation, Museum of Fine Arts Bern, Switzerland
Selected bibliography
- Roger Cardinal, Outsider Art, London, 1972.
- Roger Cardinal, Art Brut. In: Dictionary of Art, Vol. 2, London, 1996, p. 515-516.
- Jean Dubuffet: L’Art brut préféré aux arts culturels [1949](=engl in: Art brut. Madness and Marginalia, special issue of Art & Text, No. 27, 1987, p. 31-33).
- Hal Foster, Blinded Insight: On the Modernist Reception of the Art of The Mentally Ill. In: October, No. 97, Summer 2001, pp. 3-30.
- Deborah Klochko and John Turner, eds., Create and Be Recognized: Photography on the Edge, San Francisco: Chronicle Books, 2004.
- John M. MacGregor, The Discovery of the Art of the Insane. Princeton, Oxford, 1989.
- John Maizels, Raw Creation art and beyond, Phaidon Press Limited, London, 1996.
- Lucienne Peiry, Art brut: The Origins of Outsider Art, Paris: Flammarion, 2001.
- Lyle Rexer, How to Look at Outsider Art, New York:Abrams, 2005.
- Colin Rhodes, Outsider Art, spontaneous Alternatives, London, 2000.
- Michel Thévoz, Art brut, New York, 1975.
- Maurice Tuchman and Carol Eliel, eds. Parallel Visions. Modern Artists and Outsider Art. Exhb. cat. Los Angeles County Museum of Art, Los Angeles, 1992.
- Allen S. Weiss, Shattered Forms, Art Brut, Phantasms, Modernism, State University of New York, Albany, 1992.
- Self Taught Artists of the 20th Century: An American Anthology San Francisco: Chronicle Books, 1998
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