Description
Book SynopsisStephanie Chadwick is Associate Professor of Art History at Lamar University, USA.
Trade ReviewThis groundbreaking study forms a necessary and timely reevaluation of Jean Dubuffet's forays into the genre of portraiture, in which Chadwick deftly employs the concepts of bricolage, pastiche, and performativity to shed new light on Dubuffet's important relationships with leading cultural figures of his time, including Michel Tapié, Jean Paulhan, Antonin Artaud, and Henri Michaux. * Kent Minturn, Core Lecturer for Art Humanities, Columbia University, USA *
With this new volume, Chadwick offers fresh interpretations of Dubuffet’s mark-making, especially connecting his radical practice to Surrealist ideas in deeply intertextual readings. By focusing on a tightly constructed group of works, Chadwick expands previous understandings of Dubuffet’s portraits in the rich context of post-war French intellectual thought. * Sandra Zalman, author of Consuming Surrealism in American Culture: Dissident Modernism (2015) *
Table of ContentsList of Plates List of Figures Acknowledgments 1. Introduction: Learning How to Smear: How to Paint a Portrait in Postwar Paris 2. Art as Other: Surrealism, Collage, and Oceanic Art in the Portraits of Michel Tapié, Jean Paulhan, and the Company of Art Brut 3. Painting and Its Double: Surrealist Performance, Ethnography, and the Balinese Theater in the portraits of Antonin Artaud 4. A Barbarian in the Gallery: Southeast Asian Art and Performance in the Portraits of Henri Michaux 5. Conclusion: Animating the Material: Assemblage, Theatricality, and Performativity in Dubuffet’s Self-Portraits Bibliography Index
