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

由精神病患者、“孤立的”个人和自学成才的人创作的艺术作品，长期以来一直被排除在艺术史的经典之外，而艺术史对艺术史产生了如此深远的影响。艺术作品提供了一种似乎不受“文化制约”影响的视觉语言，在大西洋两岸的先锋艺术的发展中发挥了关键作用。由JeanDubuffet，安德烈布雷东和阿兰Bourbonnais的收藏框架，这个项目询问如何艺术布鲁特的想法是建设，采用，并在现代主义圈内利用。它质疑和挑战艺术的方式已经被历史化，询问如何规范，现代艺术的西方叙事改变时，这些做法被重新评估。这个项目的目的是证明，《野蛮艺术》并不是这些叙事的无名附属品，而是在其中占据了关键和重要的地位。这些藏品跨越了《野蛮艺术》的三个关键时刻：它的前奏，1945年由杜布菲定义，以及20世纪80年代进入公众意识。他们全部或部分地由从不同来源获得的艺术作品组成，他们塑造了一个基本上没有受到挑战的艺术观念。这个项目考虑了这些藏品如何运作，它们对收藏家的艺术和文学实践的影响，这些藏品中艺术作品的来世，以及主流人物如何从艺术及其创作者的边缘化中受益。它认为，打破公认的，封闭的艺术历史叙事重塑了对艺术创作发生的地方，谁参与其中，以及它采取什么形式的思考。研究不足的时期Dubuffet的收集花在美国（1951年至1962年）允许比较的艺术和收集活动的芝加哥意象（雷吉田，毛茸茸的谁）关于非规范的艺术。

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.