Clay artworks under glass at the Collection de L'Art Brut Lausanne, Switzerland, 2007. Photo: L. Moriarity.

Exhibition Poster at Collection de L'Art Brut Lausanne. Switzerland, 2007. Photo: L.Moriarity.

Making, creating, drawing, painting, and assembling is a necessity for creators of Art Brut, and it is the same for all artists. The Modern artist Jean Dubuffet, invented the term Art Brut. Some later terms invented for similar art works include: Naïve Art, Raw Art, Primitive Art, and Outsider Art. The contemporary term Art Singulier was again created to describe works by contemporary artists.

Dubuffet defined Art Brut in the 40s as creations of art that were outside of the culture of art; that did not reference in anyway official (historical) art works. The creators of Art Brut were untrained artists who lived in isolated ways, and mostly happened to be patients of psychiatric institutions. Before this doctors had noticed and allowed the creativity of patients, made case studies and exhibitions to show the art works. Dubuffet’s philosophy fit well with the work of patients, for example, aesthetically they shared much. Dubuffet challenged the official art academy through his many writings about Art Brut in the 1940s. This was the trend of Modern Artists who demanded the public and artists take a different look at the practices of artists and the elite art institutions of historical art: the official art. If art brut was put at the centre of fine art culture, rather than the margins what would happen? Was this a reflection of new democratic thought? Dubuffet also asserted the hierarchical barriers constructed by history were maintained by the official culture of art.

Artists, art curators, and collectors, saw the artwork of the mentally ill, as Dubuffet did, and were influenced by it (see Art Brut Story). Today the historical Art Brut connection to Modern Art leaves out the Art Brut artists from the system and culture of art. In this way important commonalities are lost for today's art student.

Since the 1940s the definition of Art Brut has expanded; to include people who create objects obsessively, sometimes where they work: dishwashers, cashiers, etc.

Today many artists agree it is accurate to describe the culture of fine art in Canada, and perhaps globally, as academically and institutionally driven. The essential in any piece of this art embodies theory, education, and sanity. Some teachers criticize it as ‘clever’ art (from personal anecdote). The contemporary artists who speak of their rejection of theory are proof of a street aesthetic and credibility, and another in-crowd is simply born in the global world of art.

Different dynamics of 'the outsider' exist in classrooms in schools in Ontario today. Some secondary students attend class to learn/teach about the visual arts and have no training in art. Some students have some training, and adopt the curriculum taught with little challenge. Some students challenge the system, or find the system the challenge and skip classes, and/or reject the curriculum. Art class is seen as a chance to gain an easy pass by some students, and a place to 'dump' students for some school administrators.

The Art Brut Education Kit is an attempt to aid teaching/learning in the visual arts. It provides information about Art Brut, and inclusion practices. The kit is intended for students/teachers, and provides an Art Brut story, vocabulary, techniques & materials, significant people, and suggested activities. It also provides links to further resources.

As a teacher candidate in the Artist in Community Education program at the Faculty of Education, Queen's University, I developed the Art Brut Education Kit during my alternate practicum in Paris, France, 2007. I received the Elliott/Upitis/Bamji Travel Fellowship, which allowed me to travel to Paris and Lausanne, 2007. At the Musée Max Fourny (Halle Saint Pierre), Paris, I had conversations with museum staff and attended an

education lecture. I also talked with staff and spent time with the current exhibition at the Jean Dubuffet Fondation, Paris, and traveled to the (Dubuffet) Collection de L'Art Brut, Lausanne, Switzerland. I thank the members of staff for their welcome, generous and helpful conversations.
While in Paris, I wanted to know how the gallery or museum had provided, if at all, Art Brut educational programs for kids. I planned to develop a kit for the secondary school setting in Ontario. I found out there are few, if any, Art Brut education activities developed for secondary schools in Paris, but for elementary schools more existed. One perspective argues Art Brut is a manifestation that cannot be taught. One such argument can be found on the Art Brut Collection abcd web site, 'Impossible Education' by Jean-Louis Lanoux, Vice president.

To teach/learn Art Brut to secondary students there are a few reasons, and perhaps ways to teach that I suggest. One, introduce to students the significant, unique, and diverse forms of Art Brut and how they are intertwined with Modern Art practices, society/history, and contemporary art. Two, a class on Art Brut just might break down barriers for students who are trained in the visual arts in grade 9 and/or 10, for those students who have never been in an art class before, and those who feel they are ‘outsiders’. Teach students towards finding their individual qualities. Have a class discussion about what an outsider is in our society, who is an outsider, how it feels to be an outsider, and how a person is made an outsider. Three, creators, and patients, of Art Brut search for peace in unique ways, work through feelings and thoughts, i.e. protect items etc. These gestures remind us that we are human, which is relevant for students to learn in visual art classes in our Schools today. As a visual arts educator and artist, this is why I value Art Brut, Raw Art, Outsider Art, and Art Singulier.

I hope teachers/students will find the Art Brut Education Kit to be helpful, exciting, and an interesting journey. Feedback on the kit is welcome. Please contact me.

Lesa Moriarity, B.F.A., M.A. B.Ed.

When 1st published. Artist in Community Education Program, Teacher Candidate, Queen's University, Kingston, Ontario, Canada, 2007.

Contact e-mail: artbrut@exhibit905.info

Musée Max Fourny (Halle Saint Pierre), Paris, 2007. Photo: L.Moriarity.