Word: dubuffets
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...Scream -- but it was certainly helped by a year's visit to the German city of Dusseldorf in 1964-65. There Hesse came to know the work of Joseph Beuys and the post-Dada Fluxus group. From that point on -- accelerated by her admiration for artists like Dubuffet and Claes Oldenburg -- she grew more and more interested in whatever did not pertain to sculpture as commonly understood. She backed away from sculpture's "male" rigidity, idealism and rhetorical clarity, which included the high-style rhetoric of Minimalism, and allowed her fascination with the female and the inward, not excluding...
...with the real world through drawing. He had no idea how to discipline himself into making a creative accord between its forms and the marks on paper or canvas. He just scribbled and jotted, picking up stylistic pointers from older artists he admired, among them Cy Twombly and Jean Dubuffet. He could only rehearse his own stereotypes, his pictorial nouns for "head" or "body," over and over again...
...Dubuffet, Derain, Chagall and Pascin each add to the transformation of nature to the canvas. Dubuffet uses a color scheme in his canvas entitled "Site avec 2 Personnages" (1982). The bright red strokes guide the eye through the painting. This method of color contour tracking is a unique method of painting (reminiscent of Van Gogh) that Dubuffet manipulates carefully...
...most natural thing in the world and not, like Francis Bacon, as a pretext for reflection on Eros' power to maim and dominate. His code for the subject in the early '60s was graffiti. Flattened scrawly figures with sticks for limbs and blobs for heads, much influenced by Jean Dubuffet, populate a whole set of images from 1960 to 1963 -- Doll Boy, The Fourth Love Painting, The Most Beautiful Boy in the World (a valentine to the pop singer Cliff Richard, on whom the artist had an unrequited crush), We Two Boys Together Clinging (a line from Walt Whitman...
...Grooms' exuberance there is no doubt. Not for nothing does he favor the rowdy epithet ruckus in collectively naming his pieces: Ruckus Manhattan, Ruckus Rodeo. His tableaux fairly burst with riotous energy. In them, Jean Dubuffet's idea of making an art raw enough to stand up to the chaos of the street comes home to roost. Every Grooms surface pullulates with caricatural figures, each impacted with manic cartoony verve, rendered as layered plywood cutouts, as silhouettes, as stuffed dolls, as shadows. The detail is never hard to read, and one does not get lost in it, because Grooms sticks...