Hostname: page-component-586b7cd67f-g8jcs Total loading time: 0 Render date: 2024-11-26T14:34:47.864Z Has data issue: false hasContentIssue false
  • English
  • Français

The long and winding journey of Outsider Art. An historical perspective

Published online by Cambridge University Press:  18 May 2011

Carole Tansella
Carole Tansella*
Affiliation:
Dipartimento di Arti Visive, Università degli Studi di Bologna, Bologna (Italy).
*
Address for correspondence: Dr. C. Tansella, via Pietralata 22, 40129 Bologna (Italy) E-mail: [email protected]
Get access Rights & Permissions [Opens in a new window]

Summary

Aims - The article describes the evolution of Outsider Art from the birth of its term in 1972 to the present and its emancipation from the margin to the markets, still in progress. Results - Tracing the evolution of Outsider Art evidences a stark contradiction. On one hand the art world of collectors, historians, art dealers and admirateurs, accepts without reservation artwork that for many years was kept in a marginal position, compared to the “insider” art establishment. On the other hand art experts can not agree on a universal definition of this category of art. The particular status of the outsider artists is one of the reasons that causes difficulty in reaching a definition of Outsider Art. Significant atelier experiences with psychiatric patients delineate the difference between an Outsider Art work and a work produced by Art Therapy. Conclusions - The art market of art dealers and art collectors can be identified as the place where these contradictions dissolve, and where the Outsider Art category finds its ultimate legitimation and international recognition.

Keywords

outsider artart brutart therapy.
Type
Special Articles
Information
Epidemiology and Psychiatric Sciences , Volume 16 , Issue 2 , June 2007 , pp. 133 - 138
Copyright
Copyright © Cambridge University Press 2007

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Cardinal, R. (1972). Outsider Art. Studio Vista: London.Google Scholar
Dubuffet, J. (1967). Prospectus et Tous Ecrits Suivants. Tome 1, pp. 198–202. Gallimard: Paris.Google Scholar
Dubuffet, J. (1971). Posizioni Anticulturali. In I Valori Selvaggi. Prospectus ed Altri Scritti (Barilli, a cura di R.). Feltrinelli: Milano.Google Scholar
Galerie St., Etienne (2006). Parallel Vision II. “Outsider” and “Insider” Art Today. Galerie St. Etienne, New York. Retrieved April 3, 2007 from http://www.gseart.com/exhibitions.asp?ExhID=498 (htpp://www.gseart.com).Google Scholar
Goldberg, D., Benjamin, S. & Creed, F. (1966). Psichiatria nella Pratica Medica. II Pensiero Scientifico Editore: Roma.Google Scholar
Gordon, R. (2003). Postcard from the Edges. The Connection (Radio program, 7th May 2003). BUR: Boston.Google Scholar
Maizels, J. (1996). Raw Creation Art and Beyond. Phaidon Press Limited: London.Google Scholar
Maizels, J. (2001). State of the Art, Raw Vision. International Journal of Outsider, Intuitive, Visionary Art, No.37, Winter 2001. Distributed by Art Pub, London. Retrieved April 3, 2007 from http://www.rawvision.comGoogle Scholar
Musgrave, V. (1979). Outsiders: An Art without Precedent or Tradition. ArtsCouncil of Great Britain: London.Google Scholar
Peiry, L. (2001). Art Brut. The Origins of Outsider Art. Flammarion:Paris.Google Scholar
Rexer, L. (2003) How to Look at Outsider Art. Abrams: New York.Google Scholar
Rhodes, C. (2000). Outsider Art: Spontaneous Alternatives. Thames and Hudson: London.Google Scholar
Rosen, A. (2007). Return from the vanishing point: a clinician's perspective on art and schizophrenia. Epidemiologia e Psichiatria Sociale 16, 126–132.CrossRefGoogle Scholar
Thévoz, M. (1975). Art Brut. New York.Google Scholar
Tosatti, B. (2003). Outsider Art in Italia. Arte Irregolare nei Luoghi di Cura. Skira: Milano.Google Scholar