Jean Dubuffet’s Group of Four Trees in New York City

Introduction

Jean Dubuffet’s “Group of Four Trees” stands tall in New York City’s busy heart. The Chase Manhattan Plaza sculpture attracts residents and tourists. The epoxy and fiberglass artwork features Dubuffet’s black-and-white tree bark-inspired patterns in four massive, abstract tree-like structures. “Group of Four Trees” has symbolized the city’s vibrant art culture and public art since 1972.

Urban identity is shaped by public art. Transforming ordinary places into culturally significant and beautiful areas promotes a sense of community. Public art can enhance the city’s overall quality of life and ignite thought, conversation, and social engagement. The impact of Jean Dubuffet’s Group of Four Trees on its environment and those who see it is explored in this paper. We will investigate how the artwork enriches the urban landscape and the experiences of individuals who come across it through on-site research and analysis of primary and secondary sources, studying its context, history, and meaning.

Background and Context

Jean Dubuffet (1901-1985) was a French artist known for his unique approach to painting and sculpture. He didn’t follow traditional artistic rules, instead embracing Art Brut, or “raw art.” Dubuffet coined this term to describe unpolished, spontaneous, and highly expressive art, often made by self-taught artists or those with mental health conditions. His work is known for its bold, unconventional shapes and his use of unusual materials and methods.[1]

Steven Félix-Jäger’s article discusses Dubuffet’s role in shaping modern art, focusing on exploring art and society’s relationship. Félix-Jäger believes Dubuffet’s work encourages viewers to question standard artistic norms and look for different ways to express themselves. The “Group of Four Trees” embodies this idea, as it challenges what public art should be and pushes sculptural form limits.

The “Group of Four Trees” was commissioned in the late 1960s by David Rockefeller, Chase Manhattan Bank’s president, to renew the area around the bank’s headquarters in Lower Manhattan.[2] Installed in Chase Manhattan Plaza in 1972, the artwork quickly became essential to the city’s urban landscape. At 40 feet tall and covering a 60 by 45 feet area, the sculpture is one of Dubuffet’s most significant and ambitious public art projects (Art, Architecture, and Engineering Library).

As the Art, Architecture, and Engineering Library’s online database states, the “Group of Four Trees” was made using a unique process of layering epoxy resin and fiberglass, creating a strong yet lightweight material.[3] This innovative method allowed Dubuffet to accomplish the sculpture’s unique, organic forms while ensuring its durability against harsh city conditions.

Stephanie Chadwick analyzes Dubuffet’s public works, including “Group of Four Trees,” in her dissertation. Chadwick contends that comprehending Dubuffet’s aesthetic vision and dedication to questioning established artistic ideals is essential when evaluating his large-scale public sculptures like the “Group of Four Trees.”[4]

Chadwick says Dubuffet’s public art explores identity, community, and the artist’s place in society.[5] By interrupting the urban environment with their unusual presence, the “Group of Four Trees” and similar works encourage viewers to rethink their preconceptions of art, nature, and their relationship. With the “Group of Four Trees,” Dubuffet changed Lower Manhattan’s physical space and contributed to a broader conversation about public art’s power to alter our understanding of the world around us.

On-site Observations and Analysis

The “Group of Four Trees” is located in Lower Manhattan’s Financial District, surrounded by skyscrapers and bustling streets. The Chase Manhattan Plaza sculpture blends ancient and contemporary architecture. The plaza’s large sitting area provides a reprieve from the city’s frenetic pace and a great site to see the art.[6] Dubuffet’s “Group of Four Trees” stands out against the surrounding cityscape, catching people’s attention and inviting them to interact with it. The tree-like structures’ organic and playful shapes and the nearby buildings’ straight lines and geometric forms create an eye-catching contrast highlighting the difference between nature and city life. The sculpture reminds us of the importance of including natural elements in urban areas, promoting balance and harmony in a heavily constructed environment.

Ann Rittenberg’s photograph of the “Group of Four Trees” in the Smithsonian Magazine underlines the sculpture’s substantial visual impact within its urban setting.[7] The photo highlights the striking play of light and shadows created by the trees’ intricate shapes, intensifying the contrast between the sculpture’s organic forms and the nearby architecture.[8]

People react differently to the “Group of Four Trees.” Some enjoy the playful nature and creative depiction of trees, while others appreciate its bold shapes and how it questions familiar public art concepts. The artwork serves as a gathering spot, a notable landmark, and a conversation starter for locals and visitors alike, promoting social engagement and shared moments. The sculpture’s inviting nature encourages physical interaction. Children often play around its base while grown-ups touch the textured surface or snap pictures with the artwork behind them. By fostering such direct engagement, the “Group of Four Trees” enlivens the cityscape and helps individuals form personal bonds with the art, creating unique connections with the piece.

Impact of Group of Four Trees

The “Group of Four Trees” has influenced New York City’s public art. Dubuffet’s early public sculpture allowed artists to explore unusual shapes and materials. The “Group of Four Trees” challenged public art assumptions, resulting in a broad range of public art that reflects urban life’s complexity.

The sculpture’s position in the Financial District greatly enhances community and social connections. As mentioned, it serves as a gathering spot, notable landmark, and conversation trigger for locals and tourists, motivating people to unite and participate in the shared experience of enjoying the artwork. The Smithsonian Magazine’s photo supports this, displaying people engaging with the piece.[9] So, the “Group of Four Trees” revitalizes the cityscape and fosters a sense of community and belonging for those who interact with it. By encouraging social bonds and shared moments, the artwork helps create a more unified and inclusive urban setting, promoting harmony among the city’s varied inhabitants.

The “Group of Four Trees” has a crucial role in urban design and place-making in New York City. As a distinguishing feature of Chase Manhattan Plaza, the sculpture gives the area a unique character. Its creative forms and nature-inspired design act as a visual focus in the plaza, drawing people in and urging them to spend time and explore the area.

Furthermore, incorporating the artwork into the plaza’s design underscores the significance of including public art in city planning. By carefully integrating the “Group of Four Trees” into the plaza’s arrangement, designers effectively utilized the sculpture to enhance the space’s overall look and experience, making it more welcoming and pleasurable for residents and visitors.

Conclusion

Jean Dubuffet’s “Group of Four Trees” highlights the incredible ability of public art to reshape city spaces and affect the experiences of those who see them. Dubuffet’s sculpture has made a lasting impression on New York City’s art community and public areas by questioning standard artistic norms and skillfully blending the artwork into the cityscape. The “Group of Four Trees” enhances the city’s visual appeal and promotes unity, social connections, and a feeling of belonging among its varied residents, ultimately showcasing the lasting importance and influence of public art in our city life.

Bibliography

Art, Architecture, and Engineering Library. “Group of Four Trees / Dubuffet, Jean.” Accessed April 26, 2023. https://quod.lib.umich.edu/u/ummu/x-05-04315/05_04315.

Chadwick, Stephanie. Disorienting Forms: Jean Dubuffet, Portraiture, Ethnography, 2015.

Félix-Jäger, Steven. “Visual Art: Visions of Glory in Eschatological Community.” In Spirit of the Arts, 119–49. Cham: Springer International Publishing, 2017.

Smithsonian Magazine, and Ann Rittenberg. “Jean Dubuffet’s.” Smithsonian Magazine. Accessed April 26, 2023. https://photocontest.smithsonianmag.com/photocontest/detail/jean-dubuffets-group-of-four-trees/.

[1] Félix-Jäger, Steven. “Visual Art: Visions of Glory in Eschatological Community.” In Spirit of the Arts, 119–49. Cham: Springer International Publishing, 2017.

[2] Art, Architecture, and Engineering Library. “Group of Four Trees / Dubuffet, Jean.” Accessed April 26, 2023. https://quod.lib.umich.edu/u/ummu/x-05-04315/05_04315.

[3] Ibid.

[4] Chadwick, Stephanie. Disorienting Forms: Jean Dubuffet, Portraiture, Ethnography, 2015.

[5] Chadwick

[6] Smithsonian Magazine, and Ann Rittenberg. “Jean Dubuffet’s.” Smithsonian Magazine. Accessed April 26, 2023. https://photocontest.smithsonianmag.com/photocontest/detail/jean-dubuffets-group-of-four-trees/.

[7] Ibid.

[8] Smithsonian Magazine

[9] Ibid.