Museum Mondays: Jean Dubuffet’s work is on view alongside art works by Jackson Pollack and Alfonso Ossorio at the Phillips Collection in Washington DC. Read about the exhibition “Angels, Demons, and Savages” which is on view until March 12th.
Today is the last day to visit Jean Dubuffet: The Last Two Years! “To see the last works,” Harmony Murphy, Pace Gallery curator, writes, “is to see all of Dubuffet, his theories contracted into an energetic force comprised of wild, fluid brushstrokes that appear as if they could escape from the confines of any boundaries imposed upon them.”
“He told me they were his last works,” Mr. Glimcher adds. “He said, with a chuckle: ‘I have been painting for over 40 years—I don’t think it is good for my health.’ ” (via Dubuffet’s Last Blast of Provocation)
Jean Dubuffet “Epanouissement, August 15, 1984” photo by Ellen Page Wilson/The Pace Gallery, New York
“The mind has the right to establish being wherever it cares to and for as long as it likes,” Dubuffet writes in a letter to his art dealer Arne Glimcher (April 19, 1985). He adds, “There is no intrinsic difference between being and fantasy; being is an attribute that the mind assigns to fantasy.”
Pace founder, Arne Glimcher, giving insight on a Dubuffet painting currently on display at 510 West 25th Street. Please be sure to visit Jean Dubuffet: The Last Two Years on view until March 10th, 2012.
Didn’t get a chance to visit Jean Dubuffet: The Last Two Years opening at 510 West 25th Street on Thursday?! Take an inside look! The exhibit will be open until March 10th, we hope you get to see it in person.
During the final two years of Jean Dubuffet’s life, his canvases exploded with raw emotion. The artist’s mental landscapes described a non-place, made perceptible by fluid intertwining lines and radiant colors that seem drawn from an alternate reality. “To see the last works,” Murphy writes, “is to see all of Dubuffet, his theories contracted into an energetic force comprised of wild, fluid brushstrokes that appear as if they could escape from the confines of any boundaries imposed upon them.” After twelve years of working on his Hourloupe cycle (the longest series of his career) with a palette of primarily red, blue, and black, contained by thick black outlines, in 1983 Dubuffet unleashed an extended color palette across the canvas, removing the borders and a representational reference point. Nearly twenty works drawn from the final two bodies of work by the artist (Mires and Non-Lieux) will be on view.
Jean Dubuffet, The Last Two Years, at Pace Gallery on 25th Street: “For all the young punks who think that rebelling against the art world is its own form of art, rest assured, you have a predecessor (many predecessors, in fact). Among them is the French painter, sculptor and printmaker Jean Dubuffet (1901-85), who coined the term “art brut” (raw art) as a way of celebrating work produced by non-academic outsiders, including children and the insane. His work frequently consisted of crudely-drawn figures and landscapes, as well as plenty of colorful abstract shapes and doodles. The works from his final years, known as the ‘Test Patterns’ consist of the latter — bright swaths of color that suggest crude geometric shapes. Opens Friday, in Chelsea.” (via This Week: Must-See Arts in the City - WNYC Culture)