Living Roots: Art Brut Within and Without the Western Art World, 1930-1988

由精神病患者、“孤立的”个体和自学成才的人创作的Art Brut或局外人艺术（Outsider Art），长期以来发现自己被排除在艺术史经典之外，而艺术史经典对他们产生了如此深远的影响。Art Brut提供了一种看似不受“文化条件”污染的视觉语言，在大西洋两岸前卫花园的发展中发挥了关键作用。该项目由JeanDubuffet、andr<s:1> Breton和Alain Bourbonnais的藏品构成，旨在探讨在现代主义圈子中，布鲁特艺术（Art Brut）的概念是如何被构建、采用和利用的。它质疑和挑战了艺术被历史化的方式，询问当这些实践被重新评估时，现代艺术的规范，西方叙事是如何变化的。在这样做的过程中，这个项目的目的是证明Art Brut在这些叙事中占据了关键和必要的位置，而不是匿名的辅助。这些藏品跨越了布鲁特艺术的三个关键时刻：它的前奏，1945年杜布菲的定义，以及20世纪80年代进入公众意识。这些作品全部或部分取材于从不同来源获得的布鲁特艺术作品，形成了一种基本上没有受到挑战的布鲁特艺术观念。这个项目考虑了这些藏品是如何运作的，它们对收藏家的艺术和文学实践的影响，这些藏品中的艺术风格作品的后遗症，以及主流人物如何从艺术风格及其创作者的边缘化中受益。它认为，打破公认的、封闭的艺术史叙事，重塑了对艺术创作在哪里发生、谁参与其中以及采取何种形式的思考。杜布菲在美国的收藏时期（1951-1962）研究不足，可以与芝加哥意象派（Ray Yoshida, The Hairy Who）在非正统艺术方面的艺术和收藏活动进行比较。

Art Brut, or Outsider Art, produced by psychiatric patients, 'isolated' individuals and the self-taught, haslong found itself excluded from the art historical canon upon which it had such a profound impact.Offering a visual language seemingly untainted by 'cultural conditioning', Art Brut played a key role inthe development of Avant Gardes on both sides of the Atlantic. Framed by the collections of JeanDubuffet, André Breton, and Alain Bourbonnais, this project asks how an idea of Art Brut wasconstructed, adopted, and exploited within modernist circles. It questions and challenges the ways inwhich Art Brut has been historicised, asking how the canonical, Western narrative of modern art changeswhen these practices are reassessed. In doing so this project aims to demonstrate that rather than ananonymous adjunct to such narratives, Art Brut occupied a pivotal and essential position within them.These collections span three key moments within Art Brut: its prelude, definition by Dubuffet in 1945,and entry into the public consciousness by the 1980s. Composed either fully or in part of Art Brut piecesacquired from diverse sources, they shaped an idea of Art Brut that remains largely unchallenged. Thisproject considers how these collections functioned, their impact on the collectors' artistic and literarypractices, the afterlives of the Art Brut works within these collections, and how mainstream figuresbenefitted from the marginalisation of Art Brut and its creators. It argues that breaking from theaccepted, closed-circuit art historical narrative reshapes thinking on where art-making happens, whoparticipates in it, and what forms it takes. The under-researched period Dubuffet's collection spent inAmerica (1951-1962) allows comparison with the artistic and collecting activities of the Chicago Imagists(Ray Yoshida, the Hairy Who) regarding non-canonical art.