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Rice University

1. Chadwick, Stephanie. Disorienting Forms: Jean Dubuffet, Portraiture, Ethnography.

Degree: PhD, Humanities, 2015, Rice University

This dissertation explores an under-studied yet key aspect of Dubuffet’s figuration—the intersections between Surrealism, ethnography, and performance in his portraits of writers and artist-intellectuals seeking to transform art, culture, and the human image in the post-WWII context. As I argue, Dubuffet produced his portraits in dialogue with the writings of certain of his key sitters, whose prose extolled alternative art forms as a means to transform Western art and culture. Considering Dubuffet’s portraits in relation to his and his sitters’ writings, as well as arts and ethnographic publications, I reveal his looking, for artistic inspiration, to the very cultural forms that had informed his sitters’ production. Many of these are Oceanic masks and figures found in Surrealist collections. Intriguingly, however, many are Indonesian masks, costumes, and puppets that have received scant attention in art historical studies. Combining a variety of visual sources to produce hybrid figures, Dubuffet aimed, I argue, to both affect the viewer and promote a thought-provoking artistic experience. In foregrounding the physicality of his figures in relation to the painting’s surface, moreover, Dubuffet calls attention to the very structure of the tableau, foregrounding the embodied and enculturated, experiences of the viewer. Chapter One, “Animat[ing] the Material:” Dissociation, Performance, and Ethnography in Dubuffet’s Portraits of Antonin Artaud, considers Dubuffet’s painting in relation to the mad Surrealist’s celebration of the affective qualities of Balinese stagecraft in his book The Theater and Its Double. Chapter Two, “The Hand Speaks:” Dislocation, Creativity, and Meaning in Dubuffet’s Portraits of Henri Michaux, considers these likenesses with regard to an aesthetic of displacement in Michaux’s book A Barbarian in Asia and to a variety of Indonesian masks and puppets. Chapter Three, “Evocations and References:” Assemblage, Translation, and Transformation in Dubuffet’s Portraits of Michel Tapié, considers Dubuffet’s depictions of this painter, critic, and curator in tandem with the Oceanic motifs to which, I argue, Dubuffet turned to produce his hybrid, collage-like figures. “Transmuting:” Collage, Theatricality, and Performativity in Dubuffet’s Self-Portraits, concludes the dissertation with an overview of Dubuffet’s career-long engagement with hybridity, collage, and performativity gleaned through his self-portraiture. Advisors/Committee Members: Hughes, Gordon (advisor), Bader, Graham (committee member), Aresu, Bernard (committee member).

Subjects/Keywords: Dubuffet; Artaud; Michaux; Tapié; Paulhan; portrait; portraits; portraiture; figuration; Indonesia; Indonesie; Bali; Balinese; theater; théâtre; balinais; Sumatran; Oceania; Oceanic; non-Western; art; ethnography; ethnographic; Surreal; Surrealism; Surrealist

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Chadwick, S. (2015). Disorienting Forms: Jean Dubuffet, Portraiture, Ethnography. (Doctoral Dissertation). Rice University. Retrieved from http://hdl.handle.net/1911/87732

Chicago Manual of Style (16th Edition):

Chadwick, Stephanie. “Disorienting Forms: Jean Dubuffet, Portraiture, Ethnography.” 2015. Doctoral Dissertation, Rice University. Accessed January 19, 2020. http://hdl.handle.net/1911/87732.

MLA Handbook (7th Edition):

Chadwick, Stephanie. “Disorienting Forms: Jean Dubuffet, Portraiture, Ethnography.” 2015. Web. 19 Jan 2020.

Vancouver:

Chadwick S. Disorienting Forms: Jean Dubuffet, Portraiture, Ethnography. [Internet] [Doctoral dissertation]. Rice University; 2015. [cited 2020 Jan 19]. Available from: http://hdl.handle.net/1911/87732.

Council of Science Editors:

Chadwick S. Disorienting Forms: Jean Dubuffet, Portraiture, Ethnography. [Doctoral Dissertation]. Rice University; 2015. Available from: http://hdl.handle.net/1911/87732


University of St. Andrews

2. Glomm, Anna Sandaker. Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS .

Degree: 2012, University of St. Andrews

This thesis examines the relationship between the three artists’ workshops Røde Mor (Red Mother), Folkets Ateljé (The People’s Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups’ poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968’ it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups’ it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue. Advisors/Committee Members: Howard, Jeremy (advisor).

Subjects/Keywords: Poster art in the twentieth-century; Political art; Propaganda; Social realism; Socialist realism; Røde Mor; GRAS; Folkets Ateljé; Norwegian twentieth-century art; Danish twentieth-century art; Swedish twentieth-century art; Scandinavian twentieth-century art; Pop art; Conceptual art; Figuration; Abstraction; 1968; Popular movements; Transnational study; Op-art; EEC 1972; Communism and art; Marxist-Leninism and art; Underground and sub culture; 1970s Scandinavia; Marxism and art; Grassroot movements; Collectivism; Graphic art; Silkscreen; Serigraphy; Lino-cuts; Offset print; Linoleum print; Atelier Populaire; Art Workers Coalition; Modernism; Postmodernism; Social art history; Russian avant garde poster art; Neo-avant garde; Activism and art; Comparative study of art; Non-figuration; Scandinavian 1968; European 1968; Political pop-art; Youth rebellion and uprising; Capitalism and art; Street art; Scandinavian model and art; Nordic model and art; Social democracy and art; Globalisation; Chinese Cultural Revolution; Third World and anti-imperialism

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Glomm, A. S. (2012). Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS . (Thesis). University of St. Andrews. Retrieved from http://hdl.handle.net/10023/3171

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Glomm, Anna Sandaker. “Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS .” 2012. Thesis, University of St. Andrews. Accessed January 19, 2020. http://hdl.handle.net/10023/3171.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Glomm, Anna Sandaker. “Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS .” 2012. Web. 19 Jan 2020.

Vancouver:

Glomm AS. Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS . [Internet] [Thesis]. University of St. Andrews; 2012. [cited 2020 Jan 19]. Available from: http://hdl.handle.net/10023/3171.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Glomm AS. Graphic revolt! Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS . [Thesis]. University of St. Andrews; 2012. Available from: http://hdl.handle.net/10023/3171

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

.