synthesizing notes II : michel thévoz

from Art Brut:

it's essential to understand that the original impulse to study & classify ArtBrut as such (Dubuffet et al) was an antagonistic gesture--against culture, against 'fine art proper.' Thévoz points out that the modernists' initial interest in ethnographic art was similarly motivated. however, where the fetishization of ethnographica sets up a false dichotomy between Occidental Art and that of the Other, ArtBrut attempts no such polarization.

naïves perhaps cannot be accused of mystification (of their work/lives), rather the art world is guilty of "mythification" of these artists who are "with only one foot" in fine art, and with the other very hesitant to move from surer ground.

while there is no visually apparent defining characteristic to l'art chez les fous, the circumstances under which it is created are unique (life in l'asile vs la réalité):
*Thévoz compares life in the asylum to that of semi-somnambulance...the outside world ceases to be at all pertinent, and one undergoes an marked decline in ability to conceptualize reality.
*he also suggests that those interned were already existing on the cultural margins. they'd most likely not "paid the ransom (ie sold their creative innocence) to acquire the finesse of abstract-thinking, technical mastery," etc.
*the asylum also strips the interned of all reason to adhere to the structures of finite time and socially mandated behavioral limitations.

this is just a nice idea : "one may choose to 'émajusculer' reality rather than immasculating the Ego."