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Introduction Learning how to smear: how to paint a portrait in postwar Paris
1. Art as other: surrealism, collage, and oceanic art in the portraits of Michel Tapi,̌ Jean Paulhan, and the Company of art brut
2. Painting and its double: surrealist performance, ethnography, and the Balinese theater in the portraits of Antonin Artaud
3. A barbarian in the gallery: Southeast Asian art and performance in the portraits of Henri Michaux
Conclusion Animating the material: assemblage, theatricality, and performativity in Dubuffet's self-portraits.
1. Art as other: surrealism, collage, and oceanic art in the portraits of Michel Tapi,̌ Jean Paulhan, and the Company of art brut
2. Painting and its double: surrealist performance, ethnography, and the Balinese theater in the portraits of Antonin Artaud
3. A barbarian in the gallery: Southeast Asian art and performance in the portraits of Henri Michaux
Conclusion Animating the material: assemblage, theatricality, and performativity in Dubuffet's self-portraits.