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Material Language in Max Ernst Collage Novel Une Semaine De Material Language in Max Ernst Collage Novel Une Semaine de Bonté A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfilment of the requirements for the degree of Master of Arts in the School of Art of the College of Design, Architecture, Art, and Planning by Samuel Morren B.A. University of Cincinnati August 2014 Committee Chair: Kristopher J. Holland, Ph.D. 1 Abstract In this project, we want to reinterpret Max Ernst’s collage novel, Une Semaine de Bonté (A Week of Kindness, 1934). Traditionally, this work of art has been studied through a psychoanalytic or formal frame. However, Ernst's work is not just inspired by traumatic childhood experiences. His work is an observation/critique of a society in chaotic, hopelessness, and incertitude change. Ernst was a voracious artist, who sought knowledge in all aspects of life, he studied philosophy, art history, history, literature, psychology; abnormal psychology, and psychiatry, as well as theology. These forms of knowledge gave him a deep well from where to draw references, referents, and inspiration to camouflage his message between two unrelated elements in an image. In our world, meaning is mediated through language, visual culture, and culture, which create a referent, framing our world view. Furthermore, this framed world view, is also mediated by the observers’ experiences through their world. Thus, our interpretation is framed, influenced, and informed through Tony Fry’s concept of ‘human design’ and Jean Baudrillard’s concept of simulacrum. Thus, trying to go beyond the iconology, iconography, materials; and we ask: Why does Ernst create such images? Why call this a novel when there is a limited narrative? What are Ernst's concerns when creating these images? With this project, we demonstrate Ernst's novel is still significant because the novel still asks from us the same questions as when it was constructed. We, still, want to answer the same questions Ernst is asking through this novel. We, still, need to find beauty within the brutality of life. Keywords: Collage, Simulacrum, Image as Text, Language Games, Writing as a plastic material, displacement of visual and verbal, Graphic novel, simulation. 2 3 Acknowledgments We would like to express our deepest and sincere gratitude to Salvador “Chavo” Padilla without whom this project would have never been realized. Chavo mil gracias por todo el apoyo, amor, y golpes que me otorgaste para llegar a donde estoy hoy. ¡Mil besos y abrazos! Por siempre, estaré endeudado contigo. Un caballito más; una plática más; por que quien habla no sabe, y quien sabe no habla. We would also like to thank Dr. Kristopher Holland who was an essential part of shaping and reshaping this project. Kris, thank you for your friendship; for the pub nights which were essential components for my project to succeed between Mexican cokes and talks. Also, we would like to express our gratitude to Dr. Morgan Thomas whose immense knowledge and grace informed this project and allowed our intense incertitude and the quest for knowledge to flourish and thrive in her classroom. I would also like to express my deepest gratitude to Ms. Kate Bonansinga whose guidance and support allowed this project to be completed. Also, we would like to thank Noel Anderson whose knowledge and friendship helped us to contextualize how an artist's practice, and the artist’s curiosity, leads to interesting plateaus and differ(a)nce (difference/deference). Mark Wilke, thank you for your efforts to improve my writing through your friendship and edits. Matthew Adams, thank you for your friendship, support, and dark humor, which kept us afloat in the low moments. To Dan Dugan, thank you for your friendship, kindness, and weird humor; thank you for your willingness to let me work in your building whenever I had a chance; and lastly, we would also like to thank the infinitude of people that were willing to listen to me talk about this project. 4 Table of Contents Abstract…………………………………………………………3 Illustration list……………………………….…….....................4 Acknowledgements……………………………………………..5 Introduction……………………………………………………..7 i. The Collage Method……………………………11 ii. Une Semaine de Bonté…….…………………...15 Pictor Doctous……………..……………………………….……20 Writing as Techne…...……………………………………..……26 Conclusion: Bonté Rénové…………..………………..…...……33 Illustrations……………………………………………………..38 Bibliography…………………………………………………….41 5 List of Illustrations 1. Max Ernst Une Semaine de Bonté, 1934 2. Max Ernst Une Semaine de Bonté, 1934 3. Max Ernst Une Semaine de Bonté, 1934 6 It is not the glue that makes the collage. —Max Ernst Max Ernst, Une Semaine de Bonté, 1934 7 In order to make a new beginning, First everything had to be destroyed, Most of all the picture in its gold frame…1 Marcel Janco Introduction We live in a world of pretenses where to create an image is to create a world. A world created for us by someone else’s concepts, designs, and ideas. We assimilate and internalize these concepts, ideas, and images to the point we can’t distinguish between real and false; however, we persist to pretend we are original, and our world’s frame is particularly ours. Although, the truth is our world has an unknown to us, a nice golden frame from where we derive our meaning. Hence, we have to destroy the picture/world view in its golden frame. Tony Fry, a design theorist, describes our frame: “we, as humans, design our world, our world acts back on us and designs us (Fry 1994, p. 93).” Thus, in our impetus to be different, we end up being all the same. We want to be individuals and end up being part of an accepted group where we, all, look exactly the same. The grotesque idea is the general public believes, under a capitalistic/consumerism pretext, we are, all, unique individuals… and the general opinion is, for us, tyranny. If others control what we see, others control what we think; and if others control what we think, others have absolute power over us and our behavior. Thus, word and image are a binary of social control/tyranny, today. This binary was self-design, by us humans, to control certain aspects of our culture. We labeled/classified humans to distance ourselves 1 Lucy R. Lappard, Dadas on Art, New York, Dover,1971, 37. 8 from one another. We labeled/classified humans first through images, and then, the image gives us the word to label the other. Thus, the hierarchy/binary of word and image. It’s not just necessary to place a label on a person, but in order to illustrate the concept of what the word refers to, we create an image, as it is more effective psychologically to form a concept when we are aware. Or in the French philosopher, Jean Baudrillard’s words: “a word is meaningless because it does not have a referent. An image refers to something that never existed; and thus, it is not real. It’s a self-referent vicious binary cycle. (Baudrillard, Simulacra and Simulation 1994, p. 3).” In the art world, we label, classify, and divide ourselves as either a visual artist or a litterateur. Either, one creates a composition to be read; or, one composes an image to be observed. Hence, in the general culture/public, we create this binary between these two terms, and we give hierarchical value to one or the other. We, however, hold that the binary is only a chimera. There is no need for this binary, and in the early 20th century artists were already trying to collapse this binary in their works. The German-born Max Ernst (April 2, 1891- April 1, 1976) is the most successful artist of the 20th century to do so with his collage novel, Une Semaine de Bonté (A Week of Kindness, 1934). Thus in the present project, we want to evaluate how Ernst collapses the binary. In Chapter One, we’ll situate Une Semaine de Bonté in the culture it was created, and the influences Ernst had to create the images. We’ll address the collage method and how it came to be known as fine art. We’ll describe the materials, the structure, the significance of the title, and introduction text in Une Semaine de Bonté. We’ll also pay particular attention to the division of the novel, which plays an important role in our claim of the silent message. We also seek to answer the importance of the origin of the materials Ernst used. 9 What is its importance? Why go to such an extent to hide the nature of the original image, or did he hide image? Are there any religious connotations within the images or story we are told? Is there a story/narrative after all within these images? In Chapter Two, we will restate the psychoanalytical interpretation Rosalind Krauss’ “In the Master’s Bedroom” offers and the formal analysis Renee Riese Hubert offers in her book Surrealism and The Book. To us, both interpretations given seem to miss a fundamental theme within the collages: the silent message by the absence of written language. We’ll show that Ernst’s silent message is a blunt political and accusatory cultural commentary customary within the Dada tradition of anti-art and anti-rational. Thus, Ernst’s collages are art as poetic dialogue – a dialogue that transforms subjectivity and objectivity into a world populated by a didactic playfulness. In Chapter Three, we’ll explore the importance of written language in the novel. Or better yet, the absence of written language in a novel. Ernst’s “A Week of Kindness” is also a place where image and language collide, annihilating each other’s meaning, intent, or message. For instance, instead of the traditional religious seven deadly sins, we are given seven deadly elements.
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