Ресми мәдениеттен тыс жасалған өнер

Art created outside the boundaries of official culture by those untrained in the arts

Outsider art is art made by self taught individuals who are untrained and untutored in the traditional arts with typically little or no contact with the conventions of the art worlds. The term outsider art was coined in 1972 as the title of a book by art critic Roger Cardinal. It is an English equivalent for art brut (aʁ bʁyt, "raw art" or "rough art"), a label created in the 1940s 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, hermits, and spiritualists. Outsider art has emerged as a successful art marketing category; an annual Outsider Art Fair 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 applied as a 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. A more specific term, "outsider music", was later adapted for musicians.

Interest in the art of the mentally ill, along with that of children and the makers of "peasant art", was first demonstrated by "Der Blaue Reiter" group: Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky, and others. What the artists perceived in the work of these groups was an expressive power born of their perceived lack of sophistication. Examples of this were reproduced in 1912 in the first and only issue of their publication, Der Blaue Reiter Almanac. During World War I, Macke was killed at Champagne in 1914 and Marc was killed at Verdun in 1916; the gap left by these deaths was to some extent filled by Paul Klee, who continued to draw inspiration from these 'primitives'. Interest in the art of insane asylum inmates continued to grow in the 1920s. In 1921, Dr. Walter Morgenthaler published his book Ein Geisteskranker als Künstler (A Psychiatric Patient as Artist) about Adolf Wölfli, a psychotic mental patient in his care. Wölfli had spontaneously taken up drawing, and this activity seemed to calm him. His most outstanding work was an illustrated epic of 45 volumes in which he narrated his own imaginary life story. With 25,000 pages, 1,600 illustrations, and 1,500 collages, it is a monumental work. Wölfli also produced a large number of smaller works, some of which were sold or given as gifts. His work is on display at the Adolf Wölfli Foundation in the Museum of Fine Art, Bern. A defining moment was the publication of Bildnerei der Geisteskranken (Artistry of the Mentally Ill) in 1922, by Hans Prinzhorn. This was the first formal study of psychiatric works, based upon a compilation of thousands of examples from European institutions. The book and the art collection gained much attention from avant garde artists of the time, including Paul Klee, Max Ernst, and Jean Dubuffet. People with some formal artistic training as well as well established artists are not immune from mental illness, and may also be institutionalized. For example, William Kurelek, later awarded the Order of Canada for his artistic life work, as a young man was admitted to the Maudsley Psychiatric Hospital where he was treated for schizophrenia. In the hospital he painted, producing The Maze, a dark depiction of his tortured youth. He was transferred from the Maudsley to Netherne Hospital from November 1953 to January 1955, to work with Edward Adamson (1911–1996), a pioneer of art therapy, and creator of the Adamson Collection.

A number of terms are used to describe art that is loosely understood as "outside" of official culture. Definitions of these terms vary and overlap. 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: Coined by Jean Dubuffet, the term translated literally from French means "raw art". 'Raw' is analogous in that it has not been through the academic 'cooking' process: i. e. the world of art schools, galleries, and museums. Dubuffet's original definition pertains strictly to the ‘raw art’ created by the autodidactic and shunned fringes of society. 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. Intuitive art/Visionary art: Raw Vision Magazines 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. Intuit: The Center for Intuitive and Outsider Art based in Chicago operates a museum dedicated to the study and exhibition of intuitive and outsider art. The American Visionary Art Museum in Baltimore, Maryland is dedicated to the collection and display of visionary art. Marginal art/Art singulier: Essentially the same as Neuve Invention; refers to artists on the margins of the art world. Naïve art: Another term commonly applied to 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. Neuve 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. Visionary environments: Buildings and sculpture parks built by visionary artists – ranging 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, Buddha Park and Sala Keoku by Bunleua Sulilat, and The Palais idéal by Ferdinand Cheval.