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This issue of "Yale French Studies" on "Surrealism and Its
Others"examines the works and theories of writers, artists, and
thinkers who positioned themselves and their productions in
dialogue with Breton's surrealism. Although surrealism always
sought to distinguish itself from other movements and ideologies,
its members often celebrated their commonality with many "others"
outside of the official group with whom they shared their passions:
Marxists, visual artists, filmmakers, psychiatrists, and
The revolutionary Dada movement, though short-lived, produced a
vast amount of creative work in both art and literature during the
years that followed World War I. Rejecting all social and artistic
conventions, Dadaists went to the extremes of provocative behavior,
creating "anti-art" pieces that ridiculed and questioned the very
nature of creative endeavor. To understand their movement's heady
mix of anarchy and nihilism--combined with a lethal dash of
humor--it's essential to engage with the artists' most important
writings and manifestos. And that is is precisely where this reader
The discussion of Cologne consists of four sections that explore different elements and aspects of the movement's expression in this city. The first two sections address the origins of Cologne Dada from the post-war anger and strife that formed the movement's backdrop to the precise events that led to its birth. The third section explores the aesthetics of Cologne Dada while the last examines the fiery relationship between Dadaist politics and aesthetics that culminated with Max Ernst's departure for Paris in 1922. A section on Hanover addresses the political and social nature of the city that gave rise to a particular blend of Expressionist and Dadaist aesthetics dominated by Kurt Schwitters. Hanover supported a politically progressive climate that nurtured the development of Dada, and an avant-garde society of publishers, art collectors, art exhibitors, and theatre patrons. This volume examines lesser known aspects of Schwitter's work, such as his Merz-Evenings and the utopian Merzbau project.
"Paris Dada" stands apart from the other Dada-doms treated in this series because of the sometimes complicated interaction between the French writers and artists associated with the movement and the band of avant-garde foreigners who flocked to Paris at the end of World War I. These foreigners -- Tzara, Picabia, Man Ray, Iliazd, et al -- were largely uninfluenced by the French tradition of mainly civil art and a call to "return to order" after the war. In this volume, editor Elmer Peterson has brought together essays that clearly show the interaction between the newcomers and the Parisian Dadaists that shaped this time in the history of the radical art movement.
Wallace Putnam (1899-1989) first came to the attention of the New York art world in 1936 with a large assemblage provocatively entitled Agog, which was prominently displayed in the entrance way to "Fantastic Art Dada and Surrealism," an important and celebrated exhibition organized by Alfred H. Barr, Jr., for The Museum of Modern Art. Although Putnam was labeled a Dadaist, he was actually a dedicated and highly innovative painter, who went on to create a large body of realist work--the human figure, birds, animals, landscapes, etc.--touched with elements of abstraction that serve to distinguished it from the work of his contemporaries. His approach and style are comparable to that of Milton Avery, a lifelong friend and colleague. Putnam's paintings were shown at the Whitney Museum of American Art, the Neuberger Museum, and by some of New York's leading art dealers, among them Betty Parsons and Lerner-Heller. His paintings are included in many important private collections, as well as in The Museum of Modern Art, New York, and at the Yale University Art Gallery, New Haven, Connecticut. This is the first book on Putnam, who lived and worked in New York City and Westchester County (Yo
Cet ouvrage apporte un eclairage nouveau a l'histoire litteraire et artistique du surrealisme par un biais inedit : l'etude du catalogue d'expositions surrealistes (CES). Se penchant sur un genre interdisciplinaire jusque-la peu etudie, le catalogue d'exposition, il en retrace les fonctions definies par l'institution Royale du XVIIe siecle et son developpement pour montrer comment les surrealistes subvertissent les formes traditionnelles liees a la description, l'explication et l'evaluation des uvres exposees.
Since the 1874 publication in Belgium of the first posthumous edition of Les Chants de Maldoror, the enigmatic work has served as an inspiration for the poetic and creative liberation of countless twentieth-century writers and artists. Little is known, however, about the book's elusive French author Isidore Ducasse, known as le comte de Lautreamont, and his abbreviated life (1846-1870). In the absence of an original manuscript, Lautreamont's readers have over time altered his poetry for personal, political, and aesthetic reasons. Symbolist literary journals, first editions of his work, surrealist illustrated editions, and the prestigious Pleiade edition (1970 and 2009), reveal how varying editions of Lautreamont's work have in turn contributed to his legend. In Lautreamont, Subject to Interpretation, Andrea S. Thomas carefully explores these editions of this so-called poete maudit to show how impassioned readers can shape not only the reception of works, but the works themselves.
In examining Dada in the Low Countries, Hubert van den Berg is faced with a complex situation that as much critiqued as embraced Dada. Largely an individual affair, and lacking the community "center" of Dada in Zurich, Berlin and the other Dada "capitals," van den Berg focuses equally on Dada's reception and on its exercise. Primarily a case of selective appropriation, Dada in the Low Countries nevertheless possessed an international reach, achieved in the relationships it posed between Dada and the Post-World War I Constructivist International and De Stijl. For the author, Dada in Belgium and the Netherlands is less a case of its "story" than of specific cases of its "use." The involvement of Clement Pansaers, Paul van Ostaijen, Theo van Doesburg, and German artist Kurt Schwitters, figure prominently in the historical mapping of van den Berg's complex and elusive subject.
Cultural Writing. Literary Criticism. What was living and what was dead in Surrealism? This collection responds to this question unequivocally, examining not only the artistic aspects of surrealism, but its political aspects. If there is any truth to the notion that the drowning see their whole life replayed before their eyes in a few short seconds, Surrealism may well be described as the last dream of a foundering culture. Jules-FranA[a¬Aois Dupuis was a pseudonym of the Belgian writer Raoul Veneigem, who was a leading light in the Situationist International. Translated by Donald Nicholson-Smith.
An interrogation of the notion of space in Surrealist theory and philosophy, this study analyzes the manifestations of space in the paintings and writings done in the framework of the Surrealist Movement. Haim Finkelstein introduces the 'screen' as an important spatial paradigm that clarifies and extends the understanding of Surrealism as it unfolds in the 1920s, exploring the screen and layered depth as fundamental structuring principles associated with the representation of the mental space and of the internal processes that eventually came to be linked with the Surrealist concept of psychic automatism. Extending the discussion of the concepts at stake for Surrealist visual art into the context of film, literature and criticism, this study sheds new light on the way 'film thinking' permeates Surrealist thought and aesthetics. In early chapters, Finkelstein looks at the concept of the screen as emblematic of a strand of spatial apprehension that informs the work of young writers in the 1920s, such as Robert Desnos and Louis Aragon. He goes on to explore the way the spatial character of the serial films of Louis Feuillade intimated to the Surrealists a related mode of vision, associated with perception of the mystery and the Marvelous lurking behind the surfaces of quotidian reality. The dialectics informing Surrealist thought with regard to the surfaces of the real (with walls, doors and windows as controlling images), are shown to be at the basis of Andre Breton's notion of the picture as a window. Contrary to the traditional sense of this metaphor, Breton's 'window' is informed by the screen paradigm, with its surface serving as a locus of a dialectics of transparency and opacity, permeability and reflectivity. The main aesthetic and conceptual issues that come up in the consideration of Breton's window metaphor lay the groundwork for an analysis of the work of Giorgio de Chirico, Rene Magritte, Max Ernst, Andre Masson, and Joan Miro. The concluding chapter considers several issues that dominate the Surrealist spatiality in the 1930s. Derived from the various spatial concepts associated with the screen paradigm, at times in contradistinction to them, these issues, as the author argues, reflect a gradual eclipse of the screen paradigm in the early years of the decade.
More than 150 artworks, spanning 20 years in the career of the world's most renowned artist of the fantastical and the surreal, are gathered in one volume, rich with detail and color. Carefully rendered reproductions of Giger's best paintings are accompanied by his own commentary. 70 color illus. 75 b&w illus. 25 b&w photos.
This book offers a new analysis of surrealist collage, both as a technique of cutting and pasting readymade material, and as a subversive and creative strategy. Focusing on Paris as the site of the marvelous and the fragmented self, and illustrating many of the collages under discussion, it offers close readings of individual collages by Ernst, Breton, Styrsky and Péret among others, and links them to central issues of surrealist aesthetic, poetic and political activities. In the process, it proposes a radical reassessment of surrealism.
Through a unique blend of art, photography, film, and architecture, "The Surreal House "presents the individual dwelling as a place of mystery and wonder. Fusing house and dream, it probes the relationship between interior and shell, object and space, and it elaborates "the marvelous" and "compulsive beauty" as espoused by Andre Breton. The haunted house, the cabinet of curiosities, the ruined castle, the cage, the cave, the box, the labyrinth, the bell jar, and the womb are among the uniquely surreal habitats explored.
Shaped by the irrational and the subversive, the flip side of the modernist paradigm of the functional, rational dwelling, "The Surreal House" is ripe for discovery. Mirroring the surrealist love of poetic juxtaposition, the project brings together works by artists such as Edward Hopper, Marcel Duchamp, Giorgio de Chirico, Man Ray, Max Ernst, Rene Magritte, Joseph Cornell, and Salvador Dali. A surreal legacy is to be found in the interiors of little-known Italian architect and designer Carlo Mollino, in Frederick Kiesler's model for "The Endless House" (1957-59), in sculptures by Louise Bourgeois and Rebecca Horn, and in installations by Edward Kienholz and Ilya Kabakov. Contemporary architecture is represented by the work of Rem Koolhaas and Diller & Scofidio, among others.
A manifesto for a poetic reading of the house, "The Surreal House" reflects on the unquestionable importance of the dwelling, the cradle of our being, in the imaginative realm. This richly illustrated account brings together a host of commentators and historians, and accompanies a major exhibition.
"Maniac Eyeball is the third, final and most comprehensive volume of autobiography written by the late Salvador Dali. "Maniac Eyeball contains the frank and uncensored confessions of Salvador Dali, from his childhood and first adolescent sexual experiences to his emergence as a painter, surrealist and eventually the most famous-and possibly richest-artist of modern times. These inspired tracts, covering art, love, sex, money, death, fame, science, his famous friends and enemies, and his extraordinary creative genius, reveal the intricate workings of Dali's mind to create not only an unparalleled autobiography, but also one of the key surrealist texts yet published.
Salvador Dali (1904-"1989) entered the ranks of the Surrealists in 1929 with a series of iconoclastic paintings which fused technical virtuosity with Freudian infantilism, leading to his invention of the "paranoiac-critical" method. Later expelled from the surrealist group, he was christened "Avida Dollars" by Andre Breton while acquiring the reputation of master showman and scandalist. His art and writings remain among the most unique and important bodies of work of the 20th century.
"Dali's paintings reveal in the most powerful form the basic elements of the Surrealist imagination: a series of equations for dealing with the extraordinary transformations of our age. Let us salute this unique genius, who has counted for the first time the multiplication tables of obsession, psychopathology and possibility"-J.G. Ballard
Volume One of Creation Art Directives, a new series devoted to
promoting the avant-garde
Although Paul Delvaux (born 1897) is an artist of international standing, his work is relatively little known in the Anglo-Saxon world. This book, the first on the artist written in English, places Delvaux's work in the tradition of European figurative painting, as well as in the more immediate context of twentieth-century Surrealism, exploring the relationship between them as they came together in the artist's works from the 1930s.David Scott identifies Delvaux's most characteristic contribution to twentieth-century art as that of problematizing academic history painting by "surrealizing" it. He concentrates on recurrent themes in Delvaux's art, notably his continuing, indeed unremitting, focus on the nude, and on the question of the "legibility" of the works, given the contradictory pictorial codes - academic and Surrealist - that Delvaux adopts in them.
David Hopkins analyses the extensive network of shared concerns and images in the work of Marcel Duchamp and Max Ernst, the greatest names associated with Dada and Surrealist art. This book covers a broad period from c.1912 to the mid-1940s, during which the emergence of Dada and Surrealism in Europe and the United States challenged earlier movements such as Cubism and Expressionism, creating scope for the expression of the unconscious fears and desires of artists acutely sensitive to the troubled nature of their times. Examining Duchamp's and Ernst's subversion and manipulation of religious and hermetic beliefs such as Catholicism, Rosicrucianism and Masonry, David Hopkins demonstrates the ways in which these esoteric concerns intersect with themes of peculiarly contemporary relevance, including the social construction of gender and notions of ordering and taxonomy. This detailed comparison of components of Duchamp's and Ernst's work reveals fascinating structural patterns, enabling the reader to discover an entirely new way of understanding the mechanisms underlying Dada and Surrealist iconography.
Surrealism was a broad movement, which attracted many adherents. It was organized and quite strictly disciplined, at least until the death of its leader, Andre Breton, in 1966. As a consequence, its membership was in a constant state of flux: persons were constantly being admitted and excluded, and often the latter continued to regard themselves as Surrealists. The wide-ranging nature of the Surrealist movement was spread over many countries and many different art forms, including painting, sculpture, cinema, photography, music, theater, and literature, most notably poetry. The Historical Dictionary of Surrealism relates the history of this movement through a chronology, an introductory essay, a bibliography, and over 600 cross-referenced dictionary entries on persons, circles, and groups who participated in the movement; a global entry on some of the journals and reviews they produced; and a sampling of major works of art, cinema, and literature."
Travel and exploration fascinated the Surrealists, who crossed
continents marveling at their diversity. This riveting book
retraces one of their most important and exciting voyages, made on
the eve of the birth of Surrealism in 1924. It describes the secret
journey made by an extraordinary menage a trois: the painter Max
Ernst, Paul Eluard (cofounder of Surrealism with Andre Breton), and
Eluard's wife Gala.
Surrealism was a revolution. Unlike other modern movements such as cubism and geometrical abstraction, it was not based purely on artistic innovation; its aim was nothing less than the liberation, in art and in life, of the resources of the subconscious mind. Sarane Alexandrian traces the development of surrealism from its origins in the Dada anti-art revolt of 1916-1920 to the death of its guiding spirit, Andre Breton, in 1966, which marked the end of its existence as a formal entity. The author discusses and illustrates an astonishing variety of surrealist artists, including not only such giants of the movement as Dali, Miro, Duchamp, Tanguy and Magritte, but a host of other remarkable talents. 231 illus., 50 in color.
The first monograph to analyze the Surrealist gesture of photographic appropriation, this study examines "found" photographs in three French Surrealist reviews published in the 1920s and 1930s: La Revolution surrealiste, edited by Andre Breton; Documents, edited by Georges Bataille; and Minotaure, edited by Breton and others. The book asks general questions about the production and deployment of meaning through photographs, but addresses more specifically the construction of a Surrealist practice of photography through the gesture of borrowing and re-contextualization and reveals something crucial both about Surrealist strategies and about the way photographs operate. The book is structured around four case studies, including scientific photographs of an hysteric in Charcot's clinic at the Salpetriere hospital, positioned as poetry rather than pathology; and one of the first crime-scene photographs, depicting Jack the Ripper's last victim, radically transformed into a work of art. Linda Steer traces the trajectory of the found photographs, from their first location to their location in a Surrealist periodical. Her study shows that the act of removal and re-framing highlights the instability and mutability of photographic meaning an instability and mutability that has consequences for our understanding both of photography and of Surrealism in the 1920s and 1930s.
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