The art of self-taught artists - including visionaries, folk creators, spiritualists, recluses, the 'mad' and the socially marginalized - was once scorned by the art establishment. Among the first to value and collect such works was the French artist Jean Dubuffet (1901-85), who coined the term Art Brut, or 'raw art'. He saw Art Brut as the purest form of creation because it was 'uncooked' by culture, touched by a raw nerve and deriving directly from the psyche. Some 50 years later, a wave of enthusiasm for contemporary folk art has gripped countries as far apart as India and the United States. John Maizels ties these disparate strands together, providing an extensive survey of the self-taught art of the twentieth century.
Today a bewildering range of terminology has emerged, along with growing enthusiasm, for strains of creative expression outside the conventional art world. In Raw Creation , Maizels traces the history of the recognition and study of this art and examines different theories and definitions that have grown up around it. He provides detailed expositions of the work of individual artists ranging from such Art Brut masters as Adolf Wolfli and Aloise Corbaz, to such gifted American folk artists as Bill Traylor and Mose Tolliver. Devoting several chapters to large-scale visionary environments, Maizels takes a broad view, embracing Rodia towers in Watts, Los Angeles, the Palais Idéal in the South of France and Nek Chand's sculpture garden in north India.
Raw Creation provides an indispensable guide to self-taught art and a fascinating account of human creativity.
Being mostly familiar with American outsider art, I hadn't realized till I read this to what degree the term was associated in the European context with the mentally ill. Especially odd as some of the works produced seem not so dissimilar from what in an earlier period in Europe would have been considered folk art (in one case the author mentions that a certain artist's outdoor carvings *were* similar to earlier folk art works in the specific area he lived in, but somehow they aren't being included in the same category?). Outsider art de facto "begins" when some mental institution staff notice its quality and stop binning it at the end of the day, so it appears in the art-historical context to spring into being, but of course that probably wasn't the reality. Some outsider artists got subsequent training or were sufficiently talented to transition to the establishment (i.e. higher-priced) art world. Some modern artists deliberately paint in a style that is, despite experts vague assertions of perceived difference, not easily distinguishable from outsider art. For these are other reasons the genre is hard to pin down.
Many people are confused upon hearing the term "outsider art." After all how can anything be outsider art when the definition of art is so loosely defined? And yet, this complicated term is somewhat of a standard in the art world and becoming more widely studied as more art historians (and artists) realize the importance that these creators have to our world. These folks that are self-taught, folk artists, etc. have an important place within the art world and this outstanding book takes a close look at their place in the world. Maizels experience within and interactions with these artists allows him to place their work into the context of art, history, and life. It is divided into three sections: Part one explores Art Brut, Dubuffet, and the art of the insane; part two focuses on folk and self-taught artists around the world; and part three looks at visionary environments. The book is composed of many fantastic photographs and illustrations that highlight just what is being discussed throughout the book. In fact if there is any complaint about the book is that sometimes the photographs overwhelm the text. Overall though this is an important book to a better understanding of the art world and is highly recommended for any artist, historian, or fan of art.
I've been 'reading' this for a year now, by which I mean dipping in and out to view the marvellous paintings/drawings/sculptures pictured here. Occasionally reading the essays on the outsiders that produced them. Outsiders here meaning 'not trained'. Many of them psychiatric patients and/or criminals. I realise the best way to review is to show some examples of the pictures here, but now I've left work I don't have the right gear to scan/copy and paste etc., so I will redirect you to Miriam's review which has many examples reproduced and (her review) was the reason I put this book on my wishlist and subsequently received it for Christmas (2017) from my daughter. It's been delighting/intriguing/worrying me now for 12 months. Many more to come.https://www.goodreads.com/review/show...
A good introduction to the history and artists of Art Brut, American Folk Art etc. Nice that it includes overviews of cultures beyond the US and Europe as well. A lot of the images are frustratingly small, especially considering that much of the art in the book is complex and hyper-detailed.
"Fight the Terror you may find When you invade the forces of the mind Test the strength of each conviction Lest they lead to contradiction Form with stone the ramparts of your life."
Eugene von Bruechenheim
"What mark will you have left on this earth that will content your God?"
While I admit to being late to the party, I now confess I love this sort of grass-roots art. Artists will be artists even if they don't have large, glass-lit studios and expensive paints and canvas. Love it!