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63-452: Incorporating dramatic elements characteristic of both Antonin Artaud and Bertolt Brecht , it is a depiction of class struggle and human suffering that asks whether true revolution comes from changing society or changing oneself. Set in the historical Charenton Asylum , Marat/Sade is almost entirely a " play within a play ". The main story takes place on 13 July 1808; the play directed by

126-471: A medley of songs from the show on her album In My Life . Recordings of the songs were made by the cast of the original Royal Shakespeare Company production and film. The first recording of the show was a three-LP set released in 1964 by Caedmon Records . This was a complete audio recording of the original London production. The second release was a single soundtrack album LP of the film score, released by Caedmon/ United Artists Records . The third release

189-537: A monodrama for voice and orchestra inspired by Artaud's late drawings "La Machine de l'être" (2000), "Le Momo" (1999) for violin and piano, and "Suppots et Suppliciations" (2012) for full orchestra. Filmmaker E. Elias Merhige , during an interview by writer Scott Nicolay , cited Artaud as a key influence for the experimental film Begotten . "La Véritable Histoire d'Artaud le Mômo", par Gérard Mordillat et Jérôme Prieur, documentary Freddie Jones Frederick Charles Jones (12 September 1927 – 9 July 2019)

252-549: A mummy]". Artaud also lived in Norogachic, a Rarámuri village in the Sierra Tarahumara. He claimed to have participated in peyote rites, though scholars have questioned this. During this time he stopped using opiates and suffered withdrawal. In 1937, Artaud returned to France, where his friend René Thomas gave him a walking-stick of knotted wood that Artaud believed was the "most sacred relic of

315-525: A pedlar in " The Last Vampire " episode of The Case-Book of Sherlock Holmes (1993). Jones played the character Sandy Thomas in ITV's Emmerdale from 2005 to 2018, when he left the programme. He said he had been offered a contract extension but he declined as he felt it was the right time to move on. Jones also performed extensively in radio drama, including: Jones married actress Jennifer Heslewood in 1965. They had three sons, actor Toby Jones , Rupert,

378-478: A private literary magazine in collaboration with his friends. Towards the end of his tenure at the Collège, Artaud noticeably withdrew from social life and "destroyed most of his written work and gave away his books". Distressed, his parents arranged for him to see a psychiatrist. Over the next five years Artaud was admitted to a series of sanatoria . In 1916, there was a pause in Artaud's treatment when he

441-495: A profound influence on theatre, avant-garde art , literature, psychiatry and other disciplines. Though many of his works were not produced for the public until after his death—for instance, "Spurt of Blood" (1925) was first produced in 1964, when Peter Brook and Charles Marowitz staged it as part of their "Theatre of Cruelty" season at the Royal Shakespeare Company —he has exerted a strong influence on

504-528: A result, Fernand Pouey, the director of dramatic and literary broadcasts for French radio, assembled a panel to consider the broadcast of Pour en Finir avec le Jugement de dieu. Among approximately 50 artists, writers, musicians, and journalists present for a private listening on 5 February 1948 were Jean Cocteau , Paul Éluard , Raymond Queneau , Jean-Louis Barrault , René Clair , Jean Paulhan , Maurice Nadeau , Georges Auric , Claude Mauriac , and René Char . Porché refused to broadcast it even though

567-594: A set designed by Balthus and employed innovative sound effects—including the first theatrical use of the electronic instrument the Ondes Martenot . It was, however, a commercial failure. While Shelley's version of The Cenci conveyed the motivations and anguish of the Cenci's daughter Beatrice with her father through monologues, Artaud's adaptation emphasized the play's cruelty and violence, in particular "its themes of incest, revenge and familial murder". Artaud

630-610: A significant influence on philosophers. Gilles Deleuze and Félix Guattari , borrowed Artaud's phrase "the body without organs" to describe their conception of the virtual dimension of the body and, ultimately, the basic substratum of reality in their Capitalism and Schizophrenia . Philosopher Jacques Derrida provided one of the key philosophical treatments of Artaud's work through his concept of " parole soufflée ". Feminist scholar Julia Kristeva drew on Artaud for her theorisation of "subject in process". Poet Allen Ginsberg claimed Artaud's work, specifically "To Have Done with

693-543: A whole forgotten mystique of production." However, their disagreements increased over time, particularly in relation to the differing logics of Eastern and Western theatre traditions. Their final disagreement was over his performance as the Emperor Charlemagne in Alexandre Arnoux's Huon de Bordeaux ; he left the troupe in 1923 after eighteen months as a member. Shortly thereafter he joined

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756-458: Is a supporter of the post-revolutionary government led by Napoleon , in place at the time of the production, and believes the play he has organised to be an endorsement of his patriotic views. His patients, however, have other ideas, and they make a habit of speaking lines he had attempted to suppress, or deviating entirely into personal opinion. They, as people who came out of the revolution no better than they went in, are not entirely pleased with

819-549: Is about an American soldier "zappin' the [Viet] Cong " in the Vietnam War .) In 1964 the play was translated by Geoffrey Skelton with lyric adaptation by Adrian Mitchell and staged by the Royal Shakespeare Company. Peter Brook directed a cast that included Ian Richardson as the herald, Clive Revill as Marat, Patrick Magee as de Sade and Glenda Jackson as Charlotte Corday . After two previews,

882-656: The Arts Theatre in Afore Night Come . According to the theatre critic Michael Coveney , Jones was "immediately one of the ... [RSC's] most distinctive character actors". In 1963 he played Stanley in the Harold Pinter -directed revival of The Birthday Party in 1963, followed by Maxim Gorky 's play Lower Depths at the Aldwych Theatre in 1964. In 1964 he appeared as Cucurucu in

945-702: The Broadway production opened on 27 December 1965 at the Martin Beck Theatre and ran for 145 performances. Richardson took over the role of Marat, while Magee and Jackson reprised the roles they had originated in London . The play won the Tony Award for Best Play , and Brook was named Best Director . Additional awards went to Magee for Best Performance by a Featured Actor in a Play and Gunilla Palmstierna-Weiss for her Costume Design . Jackson lost

1008-574: The Marquis de Sade within the story takes place 15 years earlier, during the French Revolution , culminating in the assassination (13 July 1793) of Jean-Paul Marat , then quickly brings the audience up to date (1808). The actors are the inmates of the asylum; the nurses and supervisors occasionally step in to restore order. The bourgeois director of the hospital, Coulmier , supervises the performance, accompanied by his wife and daughter. He

1071-546: The Paris Colonial Exposition . Although he misunderstood much of what he saw, it influenced his ideas for theatre. Adrian Curtin has noted the significance of the Balinese use of music and sound for Artaud, and particularly the 'hypnotic' rhythms of the gamelan ensemble, its range of percussive effects, the variety of timbres that the musicians produced, and – most importantly, perhaps – the way in which

1134-482: The Peter Brook -directed production of Marat/Sade in a production that included Glenda Jackson , Ian Richardson and Patrick Magee . He reprised his role for the Broadway production, and again for the film version (1967). He became more widely known to British audiences in 1968, after his appearance in the six-episode television series The Caesars , in which he played Claudius . For this role, he won

1197-475: The Theatre Alfred Jarry , Artaud makes a direct attack on the surrealists, whom he calls "bog-paper revolutionaries" that would "make us believe that to produce theatre today is a counter-revolutionary endeavour". He declares they are "bowing down to Communism", which is "a lazy man's revolution", and calls for a more "essential metamorphosis" of society. In 1926, Artaud, Robert Aron and

1260-542: The Tony Award for Best Performance by a Featured Actress in a Play to Zoe Caldwell . It also won the 1966 New York Drama Critics' Circle Award for Best Play. In Australia, the play was directed by Edgar Metcalfe in 1966 at the Playhouse Theatre in Perth . It played for six weeks. The cast included Alan Lander as Marat and Eileen Colocott as Charlotte Corday. Other cast members included Peter Collingwood as

1323-612: The epistolary work Correspondance avec Jacques Rivière . Artaud continued to publish some of his most influential works in the NRF . Later, he would revise many of these texts for inclusion i n The Theatre and Its Double , including the "First Manifesto for a Theatre of Cruelty " (1932) and "Theatre and the plague" (1933). Artaud had an active career in the cinema as a critic, actor, and writer. This included his performance as Jean-Paul Marat in Abel Gance 's Napoléon (1927) and

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1386-511: The 1978 series Pennies from Heaven and the ITV children's programme The Ghosts of Motley Hall (1976–1978). His cinema career developed, with support roles in the Cold War thriller Firefox playing an MI6 spy chief, and in the director David Lynch 's films The Elephant Man (1980), Dune (1984) and Wild at Heart (1990). In the 1980s series, The District Nurse , he played

1449-658: The 1983 film , nor Anthony Hopkins on television in 2015 , nor Ken Stott in the West End in 2016 – matched the rumbling thunder of Jones". Apart from a brief spell in 2001, Jones retired from stage work in the early 1990s. Jones had three appearances in Sherlock Holmes adaptations; as Chester Cragwitch in Young Sherlock Holmes (1985), as Inspector Baynes in the " Wisteria Lodge " episode of The Return of Sherlock Holmes (1988), and as

1512-471: The Director of French Radio, shelved the work the day before its scheduled airing on 2 February 1948. This was partly for its scatological , anti-American , and anti-religious references and pronouncements, but also because of its general randomness, with a cacophony of xylophonic sounds mixed with various percussion elements, as well as cries, screams, grunts, onomatopoeia , and glossolalia . As

1575-484: The Dublin police" he was finally arrested after an incident at a Jesuit college. Before deportation he was briefly confined in the notorious Mountjoy Prison . According to Irish Government papers he was deported as "a destitute and undesirable alien". On his return voyage, Artaud believed he was being attacked by two of the ship's crew members. He retaliated and was put in a straitjacket ; upon his return to France he

1638-608: The French magazine K published it. In 1949, the essay was the first of Artaud's to be translated in a United States–based publication, the influential literary magazine Tiger's Eye . This rekindled interest in his work. He recorded Pour en Finir avec le Jugement de Dieu (To Have Done With the Judgment of God) on 22–29 November 1947. The work remained true to his vision for the theatre of cruelty, using "screams, rants and vocal shudders" to forward his vision. Wladimir Porché,

1701-555: The Irish church, the Bachall Ísu , or 'Staff of Jesus'" and contained magical powers. Artaud traveled to Ireland, landing at Cobh and travelling to Galway , possibly in an effort to return the staff. Speaking very little English and no Gaelic whatsoever, he was unable to make himself understood. In Dublin, Artaud found himself penniless and spent most of his trip in "hostels for the homeless". After "several violent alteractions with

1764-601: The Judgement of God", had a tremendous influence on his most famous poem " Howl ". The Latin American dramatic novel Yo-Yo Boing! by Giannina Braschi includes a debate between artists and poets concerning the merits of Artaud's "multiple talents" in comparison to the singular talents of other French writers. A novel, Traitor Comet , was published in June 2023 as the first in a series on Artaud's life and his friendship with

1827-477: The Marquis de Sade, James Beattie, Rosemary Barr, Peter Morris, Chris Johnson, Ken Gregory and Roland Rocchiccioli. The set was designed by Ted Dombowski. The 1967 film adaptation featured many of the original players from the American production. The long version of the play's title is shown in the film's opening credits, although this was frequently shortened to Marat/Sade in publicity materials. The screenplay

1890-557: The Peaslee score popular for English-language productions. Sections of the Peaslee score have been included in trade copies of the Geoffrey Skelton / Adrian Mitchell English version (based on the text used for the Royal Shakespeare Company productions). The full score is available from ECS Publishing/Galaxy Music Corporation. The original Royal Shakespeare Company production was so popular that folk singer Judy Collins recorded

1953-535: The award for the "World's Best Television Actor of the Year" at the 1969 Monte-Carlo Television Festival . In 1970 he took the eponymous role in Charles Wood's television film The Emergence Of Anthony Purdy Esquire Farmer's Labourer , directed by Patrick Dromgoole for Harlech TV. Other television work included the 1968 BBC three-part adaptation of Cold Comfort Farm (he also appeared in the 1995 film adaptation),

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2016-461: The course of events as they occurred. The Marquis de Sade, the man after whom sadism is named, did indeed direct performances in Charenton with other inmates there, encouraged by Coulmier. De Sade is a main character in the play, conducting many philosophical dialogues with Marat and observing the proceedings with sardonic amusement. He remains detached and cares little for practical politics and

2079-509: The dancers' movements interacted dynamically with the musical elements instead of simply functioning as a type of background accompaniment. In 1935, Artaud staged an original adaptation of Percy Bysshe Shelley 's The Cenci at the Théâtre des Folies-Wagram in Paris. The drama was Artaud's first and only chance to stage a production following his manifestos for a Theatre of Cruelty. It had

2142-553: The development of experimental theatre and performance art. In the introduction to his Selected Works, Susan Sontag asserts that his impact is "so profound" that Western theatre traditions can be divided into two periods - before Artaud and after Artaud". Artists such as Karen Finley , Spalding Gray , Elizabeth LeCompte , Richard Foreman , Charles Marowitz , Sam Shepard , Joseph Chaikin , Charles Bukowski , Allen Ginsberg , and more all named Artaud as one of their influences. His influence can be seen in: Artaud also had

2205-517: The expelled surrealist Roger Vitrac founded the Théâtre Alfred Jarry (TAJ). They staged four productions between June 1927 and January 1929. The Theatre was extremely short-lived, but was attended by an enormous range of European artists, including Arthur Adamov , André Gide , and Paul Valéry . (For more details, including a full list of productions, see Théâtre Alfred Jarry ) In 1931, Artaud saw Balinese dance performed at

2268-438: The importance of the "sonic aspects of the production, which did not merely support the action but motivated it obliquely". In 1938, Artaud published The Theatre and Its Double , one of his most important texts . In it, he proposed a theatre that was in effect a return to magic and ritual and he sought to create a new theatrical language of totem and gesture – a language of space devoid of dialogue that would appeal to all

2331-404: The inmates' talk of right and justice; he simply stands by as an observer and an advocate of his own nihilistic and individualist beliefs. Marat/Sade is a play with music. The use of music follows the approach of Brecht, whereby the songs comment on themes and issues of the play. Unlike a traditional musical format, the songs do not further the plot or expositional development of character in

2394-469: The midst of actors". His core theatrical training was as part of Dullin's troupe, Théâtre de l'Atelier , which he joined in 1921. As a member of Dullin's troupe, Artaud trained for 10 to 12 hours a day. He was originally a strong proponent of Dullin's teaching and they shared a strong interest in east Asian theater, specifically performance traditions from Bali and Japan. He stated, "Hearing Dullin teach I feel that I'm rediscovering ancient secrets and

2457-526: The monk Massieu in Carl Theodor Dreyer 's The Passion of Joan of Arc (1928). Artaud also wrote a number of film scenarios, ten of which have survived. Only one of the scenarios was produced during his lifetime, The Seashell and the Clergyman (1928). Directed by Germaine Dulac , many critics and scholars consider it to be the first surrealist film, though Artaud's relationship to

2520-617: The panel were almost unanimously in favor of Artaud's work being broadcast. Pouey left his job and the show was not heard again until 23 February 1948, at a private performance at Théâtre Washington. The work's first public broadcast did not take place until 8 July 1964 when the Los Angeles–based public radio station KPFK played an illegal copy provided by the artist Jean-Jacques Lebel . The first French radio broadcast of Pour en Finir avec le Jugement de dieu occurred 20 years after its original production. In January 1948, Artaud

2583-526: The play. By contrast they often add an alienation effect , interrupting the action of the play and offering historical, social and political commentary. Richard Peaslee composed music for the original English-language production of Marat/Sade directed by Peter Brook . Although there is no official score to the play in any language, the success of the Brook-directed Royal Shakespeare Company production and film made

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2646-804: The poet Robert Desnos . The band Bauhaus included a song about the playwright, called "Antonin Artaud", on their album Burning from the Inside . Influential Argentine hard rock band Pescado Rabioso recorded an album titled Artaud . Their leader Luis Alberto Spinetta wrote the lyrics partly basing them on Artaud's writings. Venezuelan rock band Zapato 3 included a song named "Antonin Artaud" on their album "Ecos punzantes del ayer" (1999) [1] Composer John Zorn has written many works inspired by and dedicated to Artaud, including seven CDs: " Astronome ", " Moonchild: Songs Without Words ", " Six Litanies for Heliogabalus ", " The Crucible ", " Ipsissimus ", " Templars: In Sacred Blood " and "The Last Judgment",

2709-442: The presence of numerous large mannequins. Scholar Jane Goodall writes of The Cenci, The predominance of action over reflection accelerates the development of events...the monologues...are cut in favor of sudden, jarring transitions...so that a spasmodic effect is created. Extreme fluctuations in pace, pitch, and tone heighten sensory awareness intensify ... the here and now of performance. Scholar Adrian Curtin has argued for

2772-738: The resulting film was conflicted. Artaud was briefly associated with the surrealists, before André Breton expelled him from the movement in 1927. This was in part due to the Surrealists increasing affiliation with the Communist Party in France. 274 As Ros Murray notes, "Artaud was not into politics at all, writing things like: ' I shit on Marxism . ' " Additionally, "Breton was becoming very anti-theatre because he saw theatre as being bourgeois and anti-revolutionary." In "The Manifesto for an Abortive Theatre" (1926/27), written for

2835-676: The senior partner in a father-and-son medical practice in 1930s Wales, with the unrelated Nicholas Jones as his son. In 1980 he appeared as Sir in Ronald Harwood 's play The Dresser , first in Manchester, then transferring to the London stage; he later reprised the role on BBC Radio 4 's The Monday Play in 1993. Coveney said of Jones in the role: "No subsequent performance in The Dresser ;– not Albert Finney in

2898-434: The senses. The Theatre of Cruelty he theorized in the text abandoned the formal proscenium arch and dominance of the playwright, which he considered "a hindrance to the magic of genuine ritual", in favor of "violent physical images", which would "crush and hypnotize the sensibility of the spectator", who would be "seized by the theatre as by a whirlwind of higher forces". In 1935, Artaud decided to go to Mexico, where he

2961-557: The theatre and cinema. Widely recognized as a major figure of the European avant-garde , he had a particularly strong influence on twentieth-century theatre through his conceptualization of the Theatre of Cruelty . Known for his raw, surreal and transgressive work, his texts explored themes from the cosmologies of ancient cultures, philosophy, the occult, mysticism and indigenous Mexican and Balinese practices. Antonin Artaud

3024-592: The time suggested he join a drama course, after which he joined rep in Shelton, Staffordshire , and other local theatre groups. Jones won a scholarship to the Rose Bruford Training College of Speech and Drama —where he shed his Midlands accent. He spent time in repertory theatre in Lincoln , before making his London debut in 1962 with the Royal Shakespeare Company (RSC), performing at

3087-470: The troupe of Georges and Ludmilla Pitoëff. He remained with them through the next year, when he shifted his focus to work in the cinema. In 1923, Artaud submitted poems to La Nouvelle Revue Française (NRF), a prominent French literary journal. The poems were rejected, but Jacques Rivière , the journal's editor, found Artaud intriguing and invited him for a meeting. This initiated a written correspondence, which resulted in Artaud's first major publication,

3150-460: Was conscripted into the French Army . He was discharged early due to "an unspecified health reason" (Artaud later claimed it was "due to sleepwalking", while his mother ascribed it to his "nervous condition"). In May 1919, the director of the sanatorium prescribed Artaud laudanum , precipitating a lifelong addiction to that and other opiates . In March 1921, he moved to Paris where he

3213-519: Was a CD compilation of two 1966 Brook/Peaslee Royal Shakespeare Company productions: Marat/Sade and US , released by Premier Recordings. The songs included on this 1992 CD were: This track listing omits Royal Anthem (which appears on all other recordings) and does not specifically mention The Tumbrel Song either individually or as a part of Song and Mime of Corday's Arrival in Paris. The cast of this recording includes Patrick Magee , Glenda Jackson and Freddie Jones . (The accompanying production, US ,

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3276-545: Was an English actor who had an extensive career in television, theatre and cinema productions for almost sixty years. In theatre, he was best known for originating the role of Sir in The Dresser ; in film, he was best known for his role as the showman Bytes in The Elephant Man (1980); and in television, he was best known for playing Sandy Thomas in the ITV soap opera Emmerdale from 2005 to 2018. Jones

3339-695: Was born in Marseille , to Euphrasie Nalpas and Antoine-Roi Artaud. His parents were first cousins: his grandmothers were sisters from Smyrna (modern day İzmir , Turkey). His paternal grandmother, Catherine Chilé, was raised in Marseille, where she married Marius Artaud, a Frenchman. His maternal grandmother, Mariette Chilé, grew up in Smyrna, where she married Louis Nalpas, a local ship chandler . Euphrasie gave birth to nine children, but four were stillborn and two others died in childhood. At age five, Artaud

3402-686: Was born on 12 September 1927 in Dresden , a suburb of the town of Longton , Stoke-on-Trent , the son of Ida Elizabeth (née Goodwin) and Charles Edward Jones. Charles was a porcelain thrower, Ida a clerk and pub pianist. He worked briefly at Creda , the consumer electrical goods vendors, in Longton before he joined the British Ceramic Research Association in Penkhull , where he worked for ten years. His girlfriend at

3465-510: Was concerned with conveying the menacing nature of the Cenci's presence and the reverberations of their incest relationship though physical discordance, as if an invisible "force-field" surrounded them. Artaud's opening stage directions demonstrate his approach. He describes the opening scene as "suggestive of extreme atmospheric turbulence, with wind-blown drapes, waves of suddenly amplified sound, and crowds of figures engaged in "furious orgy", accompanied by "a chorus of church bells", as well as

3528-530: Was convinced there was "a sort of deep movement in favour of a return to civilisation before Cortez". The Mexican Legation in Paris gave him a travel grant, and he left for Mexico in January 1936. After arriving the following month, he "became something of a 'fixture' in the Mexican art scene", though he was often under the influence of opiates, and spent much of his time "seated and immobile, ' cual momia ' [like

3591-481: Was diagnosed with colorectal cancer . He died on 4 March 1948 in a psychiatric clinic in Ivry-sur-Seine , a commune in the southeastern suburbs of Paris. He was found by the gardener of the estate seated alone at the foot of his bed holding a shoe, and it was suspected that he died from a lethal dose of the drug chloral hydrate , although it is unknown whether he was aware of its lethality. Artaud has had

3654-590: Was diagnosed with meningitis , which had no cure at the time. Biographer David Shafer argues, however, that given the frequency of such misdiagnoses, coupled with the absence of a treatment (and consequent near-minimal survival rate) and the symptoms he had, it's unlikely that Artaud actually contracted it. Artaud attended the Collège Sacré-Coeur, a Catholic middle and high school, from 1907 to 1914. At school he began reading works by Arthur Rimbaud , Stéphane Mallarmé , and Edgar Allan Poe and founded

3717-505: Was during this time that Artaud began writing and drawing again, after a long dormant period. In 1946, Ferdière released Artaud to his friends, who placed him in the psychiatric clinic at Ivry-sur-Seine . At Ivry-sur-Seine Artaud's friends encouraged him to write. He visited a Vincent van Gogh exhibition at the Orangerie in Paris and wrote the study Van Gogh le suicidé de la société ["Van Gogh, The Man Suicided by Society"]; in 1947,

3780-529: Was involuntarily retained by the police and transferred to a psychiatric hospital. Artaud spent the rest of his life moving between different institutions, depending on his condition and world circumstances. In 1943, when France was occupied by the Germans and Italians, Robert Desnos arranged to have Artaud transferred to the psychiatric hospital in Rodez , which was well inside Vichy territory. There he

3843-659: Was put under the charge of Dr. Gaston Ferdière . At Rodez, Artaud underwent treatments including electroshock and art therapy. The doctor believed that Artaud's habits of crafting magic spells, creating astrology charts, and drawing disturbing images were symptoms of mental illness . Artaud denounced the electroshock treatments and consistently pleaded to have them suspended, while also ascribing to them "the benefit of having returned him to his name and to his self mastery". Scholar Alexandra Lukes points out that "the 'recovery' of his name" might have been "a gesture to appease his doctors' conception of what constitutes health". It

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3906-468: Was put under the psychiatric care of Dr Édouard Toulouse who took him in as a boarder. In Paris, Artaud worked with a number of celebrated French "teacher-directors", including Jacques Copeau , André Antoine , Georges and Ludmilla Pitoëff , Charles Dullin , Firmin Gémier and Lugné-Poe . Lugné-Poe, who gave Artaud his first work in a professional theatre, later described him as "a painter lost in

3969-524: Was written by Adrian Mitchell and directed by Peter Brook. The cast included Richardson, Magee, Jackson, Jones, and Clifford Rose . Antonin Artaud Antoine Marie Joseph Paul Artaud , better known as Antonin Artaud ( French: [ɑ̃tɔnɛ̃ aʁto] ; 4 September 1896 – 4 March 1948), was a French artist who worked across a variety of media. He is best known for his writings, as well as his work in

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