Raw art and outsider art are two distinct genres of art that are often conflated due to their shared origins outside of the mainstream art world. However, there are important differences between the two that are worth exploring in order to fully appreciate the unique qualities and contributions of each.
Raw art, also known as art brut, was coined by French artist Jean Dubuffet in the mid-20th century to describe art created by individuals outside of traditional artistic circles. These artists often lacked formal training and worked in isolation or within marginalized communities. Raw art is characterized by its unrefined, unpolished aesthetic and its direct expression of emotion and inner experience. It is often associated with mental illness or trauma, and its creators are sometimes referred to as “outsiders” in a broader sense.
Outsider art, on the other hand, is a broader term that encompasses not only raw art but also other forms of art created outside of the mainstream, such as folk art and self-taught art. Unlike raw art, outsider art can sometimes be more polished and refined, as many self-taught artists may develop their skills over time. Outsider art is also not necessarily tied to experiences of trauma or mental illness, although it may be influenced by cultural or historical contexts outside of the traditional art world.
One of the key differences between raw art and outsider art is the relationship between the artist and their work. Raw art is often seen as a direct expression of the artist’s inner world, with little regard for conventional aesthetics or cultural norms. Outsider art, on the other hand, may be more influenced by cultural or historical factors, as self-taught artists may draw inspiration from existing artistic traditions or styles. This can result in a broader range of subject matter and styles within outsider art, as compared to the more inward-focused raw art.
Another important difference is the way in which these genres are received and valued within the art world. Raw art is often celebrated for its authenticity and emotional power, and many collectors and institutions have sought to preserve and promote the work of raw artists. Outsider art, on the other hand, has been subject to more scrutiny and debate, with some critics questioning whether self-taught artists should be considered on the same level as trained professionals. However, outsider art has gained increasing recognition in recent years, with major museums and galleries exhibiting the work of self-taught artists and collectors building significant collections of outsider art.
Ultimately, both raw art and outsider art represent important contributions to the wider world of art, offering unique perspectives and expressions that challenge conventional notions of what art should be. By recognizing and celebrating the diversity of artistic practice, we can expand our understanding of what it means to create and appreciate art, and embrace the power of creativity in all its forms.