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	<title>On Outsider Art and the Margins of the Mainstream</title>
	<link>http://www.ibiblio.org/frenchart</link>
	<description>By Marcus Davies</description>
	<lastBuildDate>Thu, 22 Jan 2009 02:00:44 +0000</lastBuildDate>
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	<item>
		<title>Introduction</title>
		<description><![CDATA[Following its introduction in 1972 by the British art historian Roger Cardinal, the notion of ‘outsider art’ has been subject to equally passionate waves of acceptance and opposition. For some, the term continues to serve as useful critical shorthand effectively encompassing a wide range of unconventional artistic production, including work by autodidacts, religious visionaries, the [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/on-outsider-art-and-the-margins-of-the-mainstream/</link>
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		<title>Section I: Historicizing Outsider Art</title>
		<description><![CDATA[Essentially ahistorical, it is challenging to trace the origins and evolution of outsider art with the same precision employed in general art-historical practice. Viewed in contrast to the institutionalized aesthetic and intellectual principles that serve as impetus for the great bulk of the Western canon since the advent of the Renaissance, it becomes understandable why [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/historicizing-outsider-art/</link>
			</item>
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		<title>Madness and Art</title>
		<description><![CDATA[A suitable beginning for this project may be found in Foucault&#8217;s theory of what he terms Europe&#8217;s “Great Confinement,” an era of widespread social reforms during the last half of the seventeenth century (Foucault 1988:38). In Madness and Civilization Foucault asserts that up until this time insanity was met with an air of tolerance within [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/madness-and-art/</link>
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		<title>Scientific Romanticism</title>
		<description><![CDATA[Far from a recognition based on its own merits, the visual production of outsiders (namely that of the mentally ill) served to illustrate and reinforce the Platonic ideals of creative possession implicit in the Romantic orientation of the eighteenth and nineteenth centuries. Neatly dovetailing with Arthur Schopenhauer&#8217;s pervasive notion of madness as the root of [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/scientific-romanticism/</link>
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		<title>Hans Prinzhorn</title>
		<description><![CDATA[While the hard-line approach of scientific inquiry came to a tragic head during the 1937 Entartete Kunst exhibition in Berlin, a more interdisciplinary, humanistic, and ultimately successful appraisal of the art of the outsider is evident in the career of Dr. Hans Prinzhorn (1886-1933). Trained in both psychiatry and art history, Prinzhorn&#8217;s approach to the [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/hans-prinzhorn/</link>
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		<title>Art Brut</title>
		<description><![CDATA[Undoubtedly the most vocal advocate of this ideal of an art impervious to cultural contamination was Jean Dubuffet, a struggling painter in postwar Paris who, having steeped himself in Prinzhorn&#8217;s writings and the avant-garde&#8217;s fascination with primitivism, traveled throughout Switzerland in 1945 to witness firsthand the unusual art work being collected within the country&#8217;s progressive [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/art-brut/</link>
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		<title>Roger Cardinal’s Outsider Art</title>
		<description><![CDATA[Following Dubuffet&#8217;s declaration and defense of art brut, the radical notion of visual production free from cultural influence began to take hold within critical circles, thanks in part to the timely efforts of the British scholar Roger Cardinal and his publication of Outsider Art in 1972. Essentially a survey of art brut and its artists, [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/roger-cardinal%e2%80%99s-outsider-art/</link>
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		<title>Outside-In</title>
		<description><![CDATA[Over the course of the next decade outsider art began to enjoy widespread recognition and support from galleries and museums willing to contest the orthodoxy of the academy. In America, groundbreaking exhibitions such Naives and Visionaries at the Walker Art Center in Minneapolis (1974) and Outsider Art in Chicago at the Museum of Contemporary Art [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/outside-in/</link>
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		<title>Section II: On Terminology</title>
		<description><![CDATA[As evidenced in the previous chapter, an ongoing fascination with non-mainstream aesthetics has distinctly marked the advent and evolution of the modernist agenda throughout the twentieth century. Parallel to the myriad appropriations of the avant garde, countless attempts have been made by both artists and scholars to identify and unite forms existing beyond dominant academic [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/on-terminology/</link>
			</item>
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		<title>Henry Darger: Protector of Children, Destroyer of Worlds</title>
		<description><![CDATA[Any insight into the life and work of Henry Darger (1892-1973) must begin with two images, images that have become iconic in the study of outsider art. The first is a black and white photograph of Darger, taken near the end of the artist’s life by his neighbor, David Berglund. In the photo Darger sits [...]]]></description>
		<link>http://www.ibiblio.org/frenchart/outsider-art/henry-darger-protector-of-children-destroyer-of-worlds/</link>
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