A presentation of outside mainstream art is being presented in Lincoln Square in the form of the abstract “Collection de l’art brut lussane” at the American Folk Art Museum. The term “art brut” refers to works that are produced by self-taught artists that detach themselves from societal norms and potential exposure when producing their pieces. According to a pamphlet that I received at the museum, art brut creators include “psychiatric hospital patients, prisoners, eccentrics, loners and outcasts”. I had the pleasure of walking through the Daniel Cowin Gallery where the display included pieces by Madge Gill, Aloise Corbaz, and Guillaume Pujolle.

The American Folk Art Museum is a relatively small space, and there are not as many spectators as you would say at the MoMA, per say. When entering the museum, I was notified that admittance was free of cost and that I would have to put all of my belongings in a locker, excluding a pencil and paper, before walking through the galleries as photography was not permitted. The wooden lockers I was directed to each came with a small laminated version of an art piece and a corresponding key tagged with an identical art piece. There were only about 40 lockers, and hardly any of them were being used when I had arrived. Already, the space felt very intimate. I felt less that I was spectating so much as I was experiencing the pieces that the museum had to offer. The environment that the museum created resulted in a very raw sensation as I was wandering through the building. The pieces were not showcased in a grandeur manner, and there was no sense of prestige. Also, none of them were named. It was as if I was experiencing each piece in the homes of the artists themselves. There was no external pressure to bask in the glory of whatever I was looking at, as I feel is often the case with large, over-populated museums. Rather, I felt a personal motivation to experience what the artist was trying to portray, which resulted in a very vulnerable reaction to the art. Whilst walking through, I decided that I wanted to focus on the Daniel Cowin Gallery, as the art work that it held resonated with me in their unique design.

The way that the “Collection de l’art brut laussane” was separated was that each gallery held art brut pieces that shared a theme. The theme of the Daniel Cowin Gallery seemed to be art brut pieces with distorted symmetry in pattern. Each piece used some form of symmetry, however, it was far from precise. The pattern that the artists were using gave off an impression of symmetry, yet every inch of the piece was unique in its color scheme, pattern, and texture. When noticing this, I felt a sense of unease from the lack of order, which may speak about a narrative that the artist was trying to convey. Perfection in aesthetic is virtually impossible as the world is not composed of straight lines and perfect circles, though society has impressed a perfect standard on beauty. Therefore, it is imperative that we rid ourselves of this standard to embrace the imperfection of ourselves and our environment, where true beauty lies. The realization of my uneasiness prompted me to question why I felt that way in the first place, to which I responded by thinking about why these pieces were making me ask this question. The subtlety of the artistic choices by each creator was very impactful.

The use of pattern and design in the gallery was very intriguing. I noticed that in most of the pieces, human beings were being portrayed in abstract forms. From a distance, without focusing on the detail of the piece, it is hard to notice any specific construct or design. Instead, a spectator is taken aback by a large, intricate pattern. However, when one focuses on very small sections of the piece, distinguished figures can be seen. In some of the pieces, there were human faces with blank expressions scattered everywhere. In others, we could see dancing women in the distance. Though the most important aspect of this pattern was that all of these figures were severely distorted. Yes, they resembled people, but resemblance is the most relative word I can use. Examples such as naked women with both breasts strewn across one arms, or people with their entire face condensed onto one-third of the head can hardly be considered realistic. However, the beauty of art brut resides in this. The outcasts that participate in art brut are creating not to maintain the standards that the world has created, but to bend lines and dent shapes into what they feel is sufficient art. When I noticed the faces that were being portrayed, I was shocked how easily they blended into the background. None of them showed any sign of emotion or expression, but simply resembled a person. I feel as though this tells a narrative about how mundane actions results in the individual blending into their back ground, as opposed to standing out from it.

Overall, I feel as though the American Folk Art Museum has chosen to present a collection of artwork that suits its environment. The artwork itself is rather impactful, and the ambiance that the museum produces through its intimate setting only adds to the experience of the spectator. I quite enjoy how the physical museum incorporates into the experience of art that was produced before its time. It as though the past and present come to blend with each other to create an entirely unique experience altogether. Personally, I feel as though this visit has been one of the more fruitful museum excursions of my life time, and I would definitely recommend a visit to my peers.