In Surrealist sabotage and the war on work, art historian Abigail Susik uncovers the expansive parameters of the international surrealist movement's ongoing engagement with an aesthetics of sabotage between the 1920s and the 1970s, demonstrating how surrealists unceasingly sought to transform the work of art into a form of unmanageable anti-work. In four case studies devoted to surrealism's transatlantic war on work, Susik analyses how artworks and texts by Man Ray, Andre Breton, Simone Breton, Andre Thirion, Oscar Dominguez, Konrad Klapheck, and the Chicago surrealists, among others, were pivotally impacted by the intransigent surrealist concepts of principled work refusal, permanent strike, and autonomous pleasure. Underscoring surrealism's profound relevance for readers engaged in ongoing debates about gendered labour and the wage gap, endemic over-work and exploitation, and the vicissitudes of knowledge work and the gig economy, Surrealist sabotage and the war on work reveals that surrealism's creative work refusal retains immense relevance in our wired world. -- .

Big art for little hands - this new "Salvador Dali Colouring Book" in Prestel's new "Colouring Book" range is a beautifully produced colouring-in book. With plenty of space to colour outside the lines, the book is also designed to give children an early interest in some of the great masters. Sections of Dali's masterpieces are there to inspire children's creativity, whatever their age.

This book deals with the seminal surrealist. It explores Dali's grandiose and grotesque oeuvre. Picasso called Dali "an outboard motor that's always running." Dali thought himself a genius with a right to indulge in whatever lunacy popped into his head. Painter, sculptor, writer, and filmmaker, Salvador Dali (1904-1989) was one of the century's greatest exhibitionists and eccentrics - and was rewarded with fierce controversy wherever he went. He was one of the first to apply the insights of Sigmund Freud and psychoanalysis to the art of painting, approaching the subconscious with extraordinary sensitivity and imagination. This publication presents the entire painted oeuvre of Salvador Dali. After many years of research, Robert Descharnes and Gilles Neret finally located all the paintings of this highly prolific artist. Many of the works had been inaccessible for years - in fact so many that almost half the illustrations in this book had rarely been seen.

Pailthorpe's important contributions to the development of psychoanalysis are largely overlooked now * Many of her key writings are published here for the first time * Her work ties into the contemporary interest in links between psychoanalysis and creative endeavour

This book provides a conceptual and global overview of the field of Surrealist studies. Methodologically, the companion considers Surrealism's many achievements, but also its historical shortcomings, to illuminate its connections to the historical and cultural moment(s) from which it originated and to assess both the ways in which it still shapes our world in inspiring ways and the ways in which it might appear problematic as we look back at it from a twenty-first-century vantage point. Contributions from experienced scholars will enable professors to teach the subject more broadly, by opening their eyes to aspects of the field that are on the margins of their expertise, and it will enable scholars to identify new areas of study in their own work, by indicating lines of research at a tangent to their own. The companion will reflect the interdisciplinarity of Surrealism by incorporating discussions pertaining to the visual arts, as well as literature, film, and political and intellectual history.

This is a critical edition of the art writings of the painter Paul Nash (1889-1946). Alongside the very different Wyndham Lewis, Nash was the only major British artist of his generation who was also a regular critic of, and essayist on, art. He knew and read the leading critics of his day, and evolved a distinctive position in relation to them. His relationship to British modernism and the mutual stimulus of art and criticism, the opening up of his criticism and that of others to poetic and literary influences under the influence of Surrealism is discussed by Andrew Causey.

Duplessis provides a historical introduction to surrealism and examines its techniques and its use in poetry, painting, architecture, and theatre.

Although Pablo Picasso spotted Dora Maar at a cafe in January 1936 it is highly likely that she had come to his attention prior. As Brassai, a Hungarian-French photographer, recalled, It was at Les Deux-Magots that, one day in autumn 1935, [he] met Dora On an earlier day, he had already noticed the grave, drawn face of the young woman at a nearby table, the attentive look in her light-colored eyes, sometimes disturbing in its fixity. When Picasso saw her in the same cafe in the company of the surrealist poet Paul Eluard, who knew her, the poet introduced her to Picasso (Brassai, a.k.a. Gyula Halasz, Conversations with Picasso [University of Chicago Press, 1999]). Tinged with a seductive mix of violence and dark eroticism, this first meeting has attained mythical status in the story of the artists life. It reads like an unreal fantasy. A mysterious and feline beauty, which Man Ray had captured in the pictures he took of her, a companion of Georges Bataille, Dora was an accomplished photographer, close to the Surrealists revolutionary aesthetics. Picasso addressed her in French, which he assumed to be her language; she replied in Spanish, which she knew to be his. For the next decade, the painter would translate not just his fascination with the woman who had seduced him on the spot, but also his desire to escape the grip of someone who, for the first time, could intellectually aspire to be his equal. Dora would appear in his works as a female Minotaur, a Sphinx, a lunar goddess and a muse. Because of her intense artistic sensibility, her poetic gifts and her ability to participate in suffering, she was especially qualified to resonate Picassos own inner torments during these troubled years.

The Surrealist Movement is an international intellectual movement that has led a sustained questioning of the basis of human experience under twentieth- and twenty-first century modernity since its founding in the early 1920s. Influenced by the psychoanalytical teachings of Sigmund Freud, Surrealism emerged among the generation that had witnessed the insanity and horror of the First World War, and was conceived of as a framework for investigating the little-understood phenomena of dreams and the unconscious. In these territories the surrealists recognized an alternative axis of human experience that did not align with the rational, workaday rhythms of modern life, and which instead revealed the extent to which individual subjectivity had been constrained by post-Enlightenment rationalism and by the economic forces governing the post-industrial world. Against these trends, the Surrealist Movement has sought to re-evaluate the foundations of modern society and reassert the primacy of the imagination for almost a century to-date. This book offers focused introductions to numerous writers, poets, artists, filmmakers, precursors, groups, movements, events, concepts, cultures, nations and publications connected to Surrealism, providing orientation for students and casual readers alike. Historical Dictionary of Surrealism, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the Surrealist Movement's engagement with the realms of politics, philosophy, science, poetry, art and cinema, and charts the international surrealist community's diverse explorations of specific thematic territories such as magic, occultism, mythology, eroticism and gothicism. This book is an excellent resource for students, researchers, and anyone wanting to know more about surrealism.

Dada formed in 1916, embedded in a world of rational appearances that belied a raging confusion - in the middle of the First World War, in the neutral centre of a warring continent, fundamentally at the heart of Western art. This book sets out new coordinates in revision of a formation that Western art history routinely exhausts through its characterisation as a 'revolutionary movement' of anarchic cultural dissent, and does so in order to contest the perpetuated assumptions about Dada that underlie the popular myth. Dada is difficult and the response to it is not easy, and what emerge from the theoretical readings developed here are profoundly rational bases to the Dada non-sense that pitted itself against its civilised age, critically and implicitly to propose that Dada courses as vitally today as it did in 1916. The Zurich Dada formation initiated deliberate and strategic cultural engagements that struggled then, as they do now, to cohere in any sense as a 'movement', extreme in their ranges as diametrically hostile oppositionalities. Dada may be given art historically as identifiable along a trajectory of sustained ruptures and seizures, but it confounds all attempts at defined or definitive readings. This book duly offers not a history of Dada in Zurich but theoretical engagements of the emergencies and now the residue of the years 1916-19 - from 'lautgedichte' to laughter, masks to manifestos, chance to chiasmata - rounding to the 'permanent' Dada by which the formation ultimately breaks the containment and deep peace of art historical chronology.

Dada is often celebrated for its strategies of shock and opposition, but in Dada Presentism, Maria Stavrinaki provides a new picture of Dada art and writings as a lucid reflection on history and the role of art within it. The original (Berlin-based) Dadaists' acute historical consciousness and their modern experience of time, she contends, anticipated the formulations of major historians such as Reinhart Koselleck and, more recently, Francois Hartog. The book explores Dada temporalities and concepts of history in works of art, artistic discourse, and in the photographs of the Berlin Dada movement. These photographs-including the famous one of the First International Dada Fair-are presented not as simple, transparent documents, but as formal deployments conforming to a very concrete theory of history. This approach allows Stavrinaki to link Dada to more contemporary artistic movements and practices interested in history and the archive. At the same time, she investigates what seems to be a real oxymoron of the movement: its simultaneous claim to the ephemeral and its compulsive writing of its own history. In this way, Dada Presentism also interrogates the limits between history and fiction.

Surrealism was one of the most influential cultural movements of the twentieth century. Subverting the dogmas of modernism and rationalism in art and literature, it also had a profound impact on the world of design. From Dali's Mae West Lips sofa to Schiaparelli's 'shocking pink' haute couture, Surrealism championed the power of the unconscious, of dreams and hidden desires - and liberated design from convention and functionalism. Published to accompany the exhibition Objects of Desire: Surrealism and Design 1924 - Today, this book celebrates Surrealism's enduring legacy. It features groundbreaking fashion by Mary Katrantzou and Dior, as well as British artists and designers, including Tim Walker, Jonathan Trayte and Vince Fraser. Alongside essays by leading experts, such as Ghislaine Wood and Alyce Mahon, are interviews with practitioners who are carrying the torch of Surrealism today, including Viviane Sassen, Dunne & Raby and the Campana Brothers. The book concludes with a glimpse into some of the recent forms of art and resistance the movement has inspired, such as Afro-Surrealism, as well as the surprising connections between Surrealist thinking and one of the most contentious technological developments of our time: artificial intelligence. Contributors: Glenn Adamson, Yasmina Atta, Blaise Aguera y Arcas, Susanna Brown, Campana Brothers, Dunne & Raby, Alyce Mahon, Justin McGuirk, Priya Khanchandani, Viviane Sassen, Ayoola Solarin, Ghislaine Wood, Najla El Zein

Lee Miller: Photography, surrealism, and beyond offers a major new critical discussion of the work of one of the most significant twentieth-century photographers. Applying art-theoretical analyses and insights afforded by previously unseen material in archives and collections, Patricia Allmer undertakes revisionary readings of many of Miller's works, including Portrait of Space, Severed Breast from Radical Mastectomy and the famous series of war photographs produced for Vogue. At the same time she sheds new light on Miller's relations with surrealist groups and American avant-gardes, on her experiences in Paris, Egypt and World War II Europe and on her critically neglected post-war activities. Above all, Lee Miller: Photography, surrealism, and beyond focuses critical attention on the works themselves. As a result it will be of great interest to students and scholars of twentieth-century photography, modernism and surrealism. -- .

From its foundation in 1957 to its self-dissolution in 1972, the Situationist International established itself as one of the most radical revolutionary organisations of the twentieth century. This book brings together leading researchers on the SI to provide a comprehensive critical analysis of the group's key concepts and contexts, from its relationship to earlier artistic avant-gardes, romanticism, Hegelianism, the history of the workers' movement and May '68 to the concepts and practices of 'spectacle', 'constructed situations', 'everyday life' and 'detournement'. The volume also considers historically underexamined areas of the SI, including the situation of women in the group and its opposition to colonialism and racism. With contributions from a broad range of thinkers including Anselm Jappe and Michael Loewy, this account takes a fresh look at the complex workings of a group that has come to define radical politics and culture in the post-war period.

Surrealist women's writing: A critical exploration is the first sustained critical inquiry into the writing of women associated with surrealism. Featuring original essays by leading scholars of surrealism, the volume demonstrates the extent and the historical, linguistic, and culturally contextual breadth of this writing. It also highlights how the specifically surrealist poetics and politics of these writers' work intersect with and contribute to contemporary debates on, for example, gender, sexuality, subjectivity, otherness, anthropocentrism, and the environment. Drawing on a variety of innovative theoretical approaches, the essays in the volume focus on the writing of numerous women surrealists, many of whom have hitherto mainly been known for their visual rather than their literary production. These include Claude Cahun, Leonora Carrington, Kay Sage, Colette Peignot, Suzanne Cesaire, Unica Zurn, Ithell Colquhoun, Leonor Fini, Dorothea Tanning, and Rikki Ducornet. -- .

Now available in paperback, this book remains the definitive survey of the life and work of Surrealist artist Leonora Carrington (1917-2011). Carrington burst onto the Surrealist scene in 1936, when, as a precocious nineteen-year-old debutante, she escaped the stultifying demands of her wealthy English family by running away to Paris with her lover Max Ernst. She was immediately championed by Andre Breton, who responded enthusiastically to her fantastical, dark and satirical writing style and her interest in fairy tales and the occult. Her stories were included in Surrealist publications, and her paintings in the Surrealists' exhibitions. After the dramas and tragic separations of the Second World War, Carrington ended up in the 1940s as part of the circle of Surrealist European emigres living in Mexico City. Close friends with Luis Bunuel, Benjamin Peret, Octavio Paz and a host of both expatriate Surrealists and Mexican modernists, Carrington was at the centre of Mexican cultural life, while still maintaining her European connections. Leonora Carrington: Surrealism, Alchemy and Art provides a fascinating overview of this intriguing artist's rich body of work. The author considers Carrington's preoccupation with alchemy and the occult, and explores the influence of indigenous Mexican culture and beliefs on her production.

This book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all professional gallery owners; most were mainly collectors who sporadically sold items from their collection. Picassos first known dealer was Pere Manyach, whom he met as he travelled to Paris in 1900 when he was only 19 years old. As his representative, Manyach went about setting up exhibitions of his works at galleries in the French capital, such as Bethe Weills and Ambroise Vollards. Picassos first major exhibition took place in 1901 at Vollards. Daniel-Henry Kahnweiler and Leonce Rosenberg came in after Vollard lost interest during the Cubist period, as they had a manifest preference for the new style. Like Vollard, later dealers often preferred the more conventional Neoclassical phase in Picasso. This was the case with Leonces brother, Paul Rosenberg. The book is organized chronologically and discusses the interaction between Picassos collectors, dealers and exhibitions as they take place. Once collectors acquired an artwork, their willingness to lend them to exhibitions or their necessity to submit them to auction had a direct impact on Picassos prominence in the art world.

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.

Anarchism and the Advent of Paris Dada sheds new light on Paris Dada's role in developing the anarchist and individualist philosophies that helped shape the cultural dialogue in France following the First World War. Drawing on such surviving documentation as correspondence, criticism, periodicals, pamphlets, and manifestoes, this book argues that, contrary to received wisdom, Dada was driven by a vision of social change through radical cultural upheaval. The first book-length study to interrogate the Paris Dadaists' complex and often contested position in the postwar groundswell of anarcho-individualism, Anarchism and the Advent of Paris Dada offers an unprecedented analysis of Paris Dada literature and art in relation to anarchism, and also revives a variety of little known anarcho-individualist texts and periodicals. In doing so, it reveals the general ideological diversity of the postwar French avant-garde and identifies its anarchist concerns; in addition, it challenges the accepted paradigm that postwar cultural politics were monolithically nationalist. By positioning Paris Dada in its anarchist context, this volume addresses a long-ignored lacuna in Dada scholarship and, more broadly, takes its place alongside the numerous studies that over the past two decades have problematized the politics of modern art, literature, and culture.

Emerging from the disruption of the First World War, surrealism confronted the resulting 'crisis of consciousness' in a way that was arguably more profound than any other cultural movement of the time. The past few decades have seen an expansion of interest in surrealist writers, whose contribution to the history of ideas in the twentieth-century is only now being recognised. Surrealism: Key Concepts is the first book in English to present an overview of surrealism through the central ideas motivating the popular movement. An international team of contributors provide an accessible examination of the key concepts, emphasising their relevance to current debates in social and cultural theory. This book will be an invaluable guide for students studying a range of disciplines, including Philosophy, Anthropology, Sociology and Cultural Studies, and anyone who wishes to engage critically with surrealism for the first time. Contributors: Dawn Ades, Joyce Cheng, Jonathan P. Eburne, Krzysztof Fijalkowski, Guy Girard, Raihan Kadri, Michael Loewy, Jean-Michel Rabate, Michael Richardson, Donna Roberts, Bertrand Schmitt, Georges Sebbag, Raymond Spiteri, and Michael Stone-Richards.

In A Surrealist Stratigraphy of Dorothea Tanning's Chasm, Catriona McAra offers the first critical study of the literary work of the celebrated American painter and sculptor Dorothea Tanning (1910-2012). McAra fills a major gap in the scholarship, repositioning Tanning's writing at the centre of her entire creative oeuvre and focusing on a little-known short story "Abyss," a gothic-flavoured, desert adventure which Tanning worked on intermittently throughout her creative life, finally publishing it in 2004 as Chasm: A Weekend. McAra performs a major reassessment of the visual and literary principles upon which the surrealist movement was initially founded. Combining a groundbreaking methodological approach with reference to cultural theory and feminist aesthetics as well as Tanning's unpublished journals and notes, McAra reveals Tanning as a key player in contemporary art practice as well as in the historical surrealist milieu.

Throughout his career, Magritte subverted expectations about artists in the world by disguising himself as an unremarkable member of the bourgeoisie. While the public mined his work for symbolism and deep meaning, the truth is, that with Magritte, what you see is what you get. What readers will get with this gorgeous volume is a deeply engaging overview of Magritte's entire career, and an eloquent argument that his Surrealist masterpieces were simply an extension of the Romantic tradition. Chronologically arranged, this volume features full- page reproductions of thirty-five works, each paired with a concise text that highlights its significance in Magritte's catalog. In addition to greatest hits, such as Time Transfixed, 1938; The Treachery of Images, 1929; and The Lovers, 1928, the inclusion of several lesser-known works provides an overview of the range and character of Magritte's art. Readers will become acquainted with the main figures in the artist's life, including relatives, colleagues, rivals, and they will see how Magritte's relationships with collectors and dealers led to the production of particular works, as well as how his theories about painting evolved over the years. Across this compact but utterly satisfying book, Magritte's exquisite use of color, his grasp of collage and composition, and his superb gifts for invention and mood are luminously and thrillingly in evidence.

This 2005 study traces the development of Surrealist theory of visual art and its reception, from the birth of Surrealism to its institutionalization in the mid-1930s. Situating Surrealist art theory in its theoretical and discursive contexts, Kim Grant demonstrates the complex interplay between Surrealism and contemporary art criticism. She examines the challenge to Surrealist art raised by the magazine Cahiers d'Art, which promoted a group of young painters dedicated to a liberated and poetic painting process that was in keeping with the formalist evolution of modern art. Grant also discusses the centrality of visual art in Surrealism as a material manifestation of poetry, the significance of poetry in French theories of modern art, and the difficulties faced by an avant-garde art movement at a time when contemporary audiences had come to expect revolutionary innovation.

This book was originally published in 1999, and is the first comprehensive study of the British surrealist movement and its achievements. Lavishly illustrated, the book provides a year-by-year narrative of the development of surrealism among artists, writers, critics and theorists in Britain. Surrealism was imported into Britain from France by pioneering little magazines. The 1936 International Surrealist Exhibition in London, put together by Herbert Read and Roland Penrose, marked the first attempt to introduce the concept to a wider public. Relations with the Soviet Union, the Spanish Civil War and World War Two fractured the nascent movement as writers and artists worked out their individual responses and struggled to earn a living in wartime. The book follows the story right through to the present day. Michael Remy draws on 20 years of studying British surrealism to provide this authoritative and biographically rich account, a major contribution to the understanding of the achievements of the artists and writers involved and their allegiance to this key twentieth-century movement.