Natalie Dupêcher studies modern art in Western Europe and the United States, with a specialization in the historical avant-garde and Surrealism. Her dissertation considers the art and writing of German-born artist Hans Bellmer (1902-75), arguing that he used both to explore and give form to his conviction that the body was structured like a language, amenable to disarticulation and reorganization. It would reach its apex, he wrote, in total union with the exterior world. Related interests include the intersection of visual art with literature (including in artist books, artist writings, and illustration); narrative and linguistic structures; psychology and psychoanalysis; the human figure and mechanization of the body; and abstraction.
Natalie received her M.A. from Princeton in 2015. She also holds an M.A. from the Williams College Graduate Program in the History of Art (2013), where her thesis considered parody and authorship in the late work of Martin Kippenberger; and a B.A. from New York University. She was the 2015-16 Museum Research Consortium Fellow in the Department of Painting and Sculpture at the Museum of Modern Art, New York.
Since arriving at Princeton, she has worked as a Graduate Fellow at the Princeton Writing Program and twice participated in the Museum Research Consortium Study Sessions at MoMA. Her academic work has been supported by the Donald and Mary Hyde Academic-Year Fellowship for Research Abroad in the Humanities, the Getty Research Institute, the Princeton Institute for International and Regional Studies (PIIRS) and the German Academic Exchange Service (DAAD). She is currently a graduate affiliate in the Program in European Cultural Studies.
Translator. “Politics for the White Cube: The Italian Way,” by Patricia Falguières. Grey Room 64 (Summer 2016): 6-39.
“‘Like Clocks’: Keeping Time and Tracing Space in Cy Twombly’s Morocco Paintings.” Oxford Art Journal 39, no. 1 (March 2016): 19-33.