The term "Outsider art" in fine art refers to creations made by artists outside the traditional parameters of official culture or the established art world. The term "Outsider art" was originally used in English in 1972 by art critic Roger Cardinal to refer to the same style of primitive art that the French painter and assemblage artist Jean Dubuffet (1901-1985) had initially described in French as "art brut" (raw art). Jean Dubuffet coined the term "Art Brut" to describe the art he admired created by introverted, imaginative, and isolated individuals.
The English concept of Outsider art is broader and includes works by uneducated, self-taught (naive) artists, those with little or no contact with institutional forms of art, as well as painting and sculpture by asylum inmates; while Dubuffet's concept of Art Brut is largely limited to works by marginalized and maladjusted individuals.
When becoming "artists," Outsider Artists frequently have a revelatory moment similar to a religious calling. Their work often displays a sense of enhanced connectedness within the complex system of universal balance despite the fact that they typically lack professional training in an art institution. These artists possess a keen knowledge of both the powers of light and dark without necessarily having personally experienced tragedy.
Outsider artists may or may not employ materials that are considered to be artistic. Typically, "outsiders" utilize anything they can get their hands on, whether it is mud, blood, crayons, or a plain ink pen, demonstrating an uncommon and robust level of creativity. The urgent drive to create is revealed by the material's immediacy, which also shows that the produced works are far more like extensions of a continuing self-reflective selfhood than distinct artistic creations.
Instead of attempting to identify a common style or ethos in their works, Art Brut and Outsider Art remain names given, not by the artists themselves but by others, frequently posthumously, and primarily to group together artists as functioning outside of any form of art historical tradition.
Art Brut / Outsider sculpture can come in a variety of shapes and styles, just like painting. Art Brut / Outsider sculptures frequently show the artist's resourcefulness as they make do with whatever found things and materials they can find, such as animal teeth, bones, and pelts discovered in asylum farms, as well as various types of trash like twine, cord, and wire. Outsider artists who create sculpture frequently continue the subject of employing discarded and overlooked materials when working without the restrictions of institutions and conventions. David Kemp, a Cornish artist, creates all of his sculptures entirely out of discarded objects, including dangerous rubbish that has washed ashore. As a result, the finished pieces serve as both a rebuke to a culture of uneducated and selfish consumers and a testimony to outsider artists who consistently put purpose above fashion.
Numerous examples of Outsider Art have appeared at auction and in international exhibitions in recent years, increasing its reputation among collectors and curators. Given its unpolished, democratic roots, outsider art enjoys a broad audience. The artwork not only cuts across genres, but it also acts as a potent mirror of the artist's emotional state and the era in which they lived.
当代局外艺术雕塑是一种独特的原创艺术形式，吸引了世界各地艺术爱好者的想象力。这些雕塑是由传统艺术界以外的艺术家创作的，因此，他们经常使用非传统的材料和支撑来创建他们的杰作。在局外艺术雕塑中最常用的材料包括找到的物品、回收材料和像木头和石头这样的自然材料。
现代局外艺术雕塑在20世纪中期应运而生，作为对主流艺术世界严格规范和传统的回应。那些自学或缺乏正式训练的艺术家开始使用非传统的材料和技巧来创作雕塑。术语“局外艺术”是艺术评论家罗杰·卡迪纳尔在1972年创造的，用于描述那些不属于既定艺术界的艺术家的作品。这种类型的艺术作品以高度个性化和特立独行的创作方式为特点，经常反映出艺术家的个人经历和文化背景。
当代局外艺术雕塑在近年来有了重大发展，艺术家们探索新材料和新技术创造独特的作品。这些雕塑从多种来源获得灵感，包括民间艺术、部落艺术和自学成才的艺术家。它们通常以其粗糙、未经打磨的美学和传达强烈情感和思想的能力为特征。因此，它们在当代艺术市场上变得越来越受欢迎，吸引了收藏家和策展人的注意。这种流行也导致了对局外艺术家的认可增加，他们现在被纳入重要的展览，并因其作品获得了批评的好评。总的来说，局外艺术雕塑的发展促进了一个更多样化和充满活力的艺术世界，一个最重要的庆祝个人表达和创造力的世界。
以当代外来艺术雕塑而闻名的当代艺术家包括Judith Scott、Shinichi Sawada和Nek Chand等几位艺术家。
Judith Scott是一位美国艺术家，以使用发现的物品制作复杂雕塑而闻名。她的作品以使用纤维和其他材料创造复杂的抽象形态为特点，通常类似于茧或巢。Scott的作品因其独特而非常规的美感而受到赞赏。
澤田真一是一位日本藝術家，他的雕塑是由黏土製成，並經常裝飾著複雜的圖案和設計。澤田的作品以其奇幻、童趣的特質和他使用明亮、大膽的顏色而聞名。他的作品往往具有一種俏皮、近乎卡通的質感。
Nek Chand是一位印度艺术家，他的雕塑是由废弃的材料制成的，如碎玻璃、陶瓷砖和废弃的金属物品。他的作品以其复杂的马赛克式图案和鲜艳明亮的颜色而闻名。Chand的作品经常描绘印度神话和民间故事中的场景。
在外人艺术雕塑领域中还有其他一些当代艺术家，包括李·戈迪（Lee Godie）、詹姆斯·卡斯尔（James Castle）和马丁·拉米雷斯（Martín Ramírez）。戈迪是一位美国艺术家，创作了色彩缤纷、富有幽默感的绘画和画作，经常以自画像为主题。卡斯尔是一位美国艺术家，是聋哑人，用烟灰和唾液等材料创作了精细的绘画作品。拉米雷斯是一位墨西哥艺术家，大部分时间都在精神病院度过，创作了复杂而详细的火车和其他交通工具的绘画。
外来艺术是由自学成才的艺术家创作的一种艺术形式，他们与主流艺术界没有任何关联。以下是一些知名的外来艺术雕塑示例：
《王座》（The Throne）是David Lee Baker于1992年制作的一尊木制雕塑，使用了钉子和螺丝钉。它高16英尺，重量超过2500磅。雕塑上有精美的面部、动物和符号雕刻，意在代表艺术家的精神之旅。
《鸟人》（The Birdman）是Judith Scott于2003年制作的一尊雕塑，使用了废旧物品和纱线。这尊雕塑是艺术家兄弟的代表，他患有唐氏综合症，无法言语。雕塑上有一个大型的鸟形图案，翅膀由木棒和树枝制成。
《石窟》（The Grotto）是Nek Chand于1976年在印度制作的一座巨型雕塑花园，使用了废旧陶瓷、玻璃瓶和废金属等回收材料。花园内有5000多尊动物、人物和神像雕塑，意在代表艺术家对乌托邦社会的愿景。
《永恒之轮》（The Forevertron）是Dr. Evermor于1983年制作的一尊雕塑，使用了废弃材料，如除污室和航天舱。雕塑高50英尺，重量超过300吨。它意在代表艺术家对时光机的愿景，可以将人们带到其他维度。
《罗斯威尔外星人》（The Roswell Alien）是David Adickes于1994年制作的一尊玻璃钢和钢铁雕塑。雕塑高22英尺，重量超过3000磅。它意在代表艺术家对外星生命和新墨西哥州罗斯威尔的不明飞行物目击事件的着迷。
这些雕塑展示了外来艺术的独特创造力和视野，展示了艺术超越传统界限、与观众在更深层次上联系的力量。
