What was the revolutionary idea in art that was put forward by Jean Dubuffet? How did an Indian artist support his theory?
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Outsider art is art by self-taught or naïve art makers. Typically, those labeled as outsider artists have little or no contact with the mainstream art world or art institutions. In many cases, their work is discovered only after their deaths. Often, outsider art illustrates extreme mental states, unconventional ideas, or elaborate fantasy worlds.
The term outsider art was coined by art critic Roger Cardinal in 1972 as an English synonym for art brraw 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 those on the outside of the established art scene, using as examples psychiatric hospital patients and children.[1][2]
Outsider art has emerged as a successful art marketing category; an annual Outsider Art Fair[3] has taken place in New York since 1993, and there are at least two regularly published journals dedicated to the subject. The term is sometimes misapplied as a catch-all marketing label for art created by people who are outside the mainstream "art world" or "art gallery system", regardless of their circumstances or the content of their work.[4] A more specific term, "outsider music", was later adapted for musicians.
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, Switzerland.
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 professionals. After a certain familiarity with these flourishings of an exalted feverishness, lived 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 à l'incivisme (Make way for Incivism). Art and Text no.27 (December 1987 – February 1988). p.36 Dubuffet's writing on art brut was the subject of a noted program at the Art Club of Chicago in the early 1950s.
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.