The creators of Art Brut conceive their works in the margins of what is generally accepted as art, and so are indifferent to any rules or standards relating to artistic creation. Michel Thévoz’ analysis of the concept of the frame in Art Brut is therefore fascinating, precisely because the works selected for the exhibition tend to break out of their frames, both literally and figuratively.
Michel Thévoz’s book Pathologie du cadre, preface by Sarah Lombardi, Paris, Les Éditions de Minuit, 2020, 160 pages, 67 color plates, will be published this autumn.
