Editing Outsider art (section)

== Cultural context ==
The interest in "outsider" practices among twentieth-century artists and critics can be seen as part of a larger emphasis on the rejection of established values within the [[modernist]] art milieu. The early part of the 20th century gave rise to [[Cubism]] and the [[Dada]], [[Constructivism (art)|Constructivist]], and [[Futurism (art)|Futurist]] movements in art, all of which involved a dramatic movement away from cultural forms of the past. Dadaist [[Marcel Duchamp]], for example, abandoned "painterly" technique to allow chance operations a role in determining the form of his works, or simply to recontextualize existing "ready-made" objects as art. Mid-century artists, including [[Pablo Picasso]], looked outside the traditions of high culture for inspiration, drawing from the artifacts of what they deemed "primitive" societies, the unschooled art made by children, and vulgar advertising graphics. Dubuffet's championing of the ''art brut'' – of the insane and others at the margins of society – is yet another example of avant-garde art challenging established cultural values. As with analysis of these other art movements, current discourse indicates art brut is innately tied to [[primitivism]]<ref name=":2" /><ref>{{Citation |last=Koenig |first=Raphael |title=Art Beyond the Norms: Art of the Insane, Art Brut, and the Avant-Garde from Prinzhorn to Dubuffet |date=2018 |url=https://dash.harvard.edu/bitstream/handle/1/41121236/KOENIG-DISSERTATION-2018.pdf?sequence=1&isAllowed=y |work=Doctoral dissertation |pages=99 |publisher=Harvard University, Graduate School of Arts & Sciences. |access-date=2022-12-08}}</ref> due to its similarity in its borrowing of personal "de-patriation" and exoticization of familiar yet alien forms.