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Salvador Dali (1904-1989) was one of the most famous and controversial artists of the 20th century. Although he was prolific for more than sixty years-creating 1,200 oil paintings, countless drawings, sculptures, theatre and fashion designs, book illustrations, and numerous writings-the nearly universal current critical judgment is that his work reached its zenith in the early 1930s, when he was affiliated with the Surrealist movement. The forty years of work executed after 1940-the bulk of his oeuvre-is often seen as repetitious, reactionary, and overly commercialized. Such criticisms mainly arose from his 1941 reinvention of himself as a "classicist," his embrace of Catholicism, and his support for General Franco-postures that distanced him from notions of modernism and the avant-garde. This handsomely illustrated volume focuses on Dali's work after 1940, presenting it as a multifaceted oeuvre that simultaneously drew inspiration from the Old Masters and the contemporary world. Beginning in the late 1930s with the transition from Dali's well-known Surrealist canvases to the classicism he announced in 1941, the volume traces the artist's work in illustration, fashion, and theatre, predating commercial ventures by such celebrity artists as Andy Warhol. Essays evaluate the significance of Dali's "nuclear mysticism" of the 1950s, his enduring interest in science, optical effects, and illusionism, his collaborations with photographer Philippe Halsman (and his brief forays into Hollywood to work with Alfred Hitchcock and Walt Disney), and visit the two major repositories of his work-the Dali Theatre-Museum in Figueres and the Salvador Dali Museum in St. Petersburg.
A new understanding of Marcel Duchamp and his significance as an artist through an investigation of his non-art activities-archiving, art-dealing, and, most persistently, curating. This groundbreaking and richly illustrated book tells a new story of the twentieth century's most influential artist, recounted not so much through his artwork as through his "non-art" work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp's art through activities not normally seen as artistic-from exhibition making and art dealing to administrating and publicizing. These were no occasional pursuits; Filipovic argues that for Duchamp, these fugitive tasks were a veritable lifework. Drawing on many rarely seen images, Filipovic traces a variety of practices and projects undertaken by Duchamp from 1913 to 1969, from his invention of the readymade to the release of his last, posthumous work. She examines Duchamp's note writing, archiving, and quasi-photographic activities, which resulted in the Box of 1914 and the Green Box; his art dealing, marketing, and curating that culminated in experimental exhibitions for the Surrealists and his miniature museum, The Boite-en-valise; and his administrative efforts and clandestine maneuvering in order to posthumously embed his Etant donnes into a museum. Demonstrating how those activities reflect the artist's questioning of reproduction and originality, as well as photography and the exhibition, Filipovic proposes that Duchamp's "non-art" labor, and in particular his curatorial strategies, more than merely accompanied his more famous artworks; in a certain sense, they made them. Through Duchamp's elusive but vital activities he revised the idea of what a modern artist could be. With this fascinating book, Filipovic in turn revises the very idea of Duchamp
What does it mean to write "This is not a pipe" across a bluntly literal painting of a pipe? Rene Magritte's famous canvas provides the starting point for a delightful homage by French philosopher and historian Michel Foucault. Much better known for his incisive and mordant explorations of power and social exclusion, Foucault here assumes a more playful stance. By exploring the nuances and ambiguities of Magritte's visual critique of language, he finds the painter less removed than previously thought from the pioneers of modern abstraction.
Published in conjunction with a major exhibition organized by The Museum of Modern Art, New York, in collaboration with the Menil Collection, Houston, and the Art Institute of Chicago, Magritte: The Mystery of the Ordinary, 1926-1938 focuses on the breakthrough surrealist years of Rene Magritte, creator of some of the 20th century's most extraordinary images. Bringing together nearly 80 paintings, periodicals and early commercial work, it offers fresh insight into Magritte's identity as a revolutionary painter and surrealist artist. Beginning in 1926, when Magritte first aimed to create paintings that would, in his words, `challenge the real world', and concluding in 1938 - a historically and biographically significant moment just before the outbreak of World War II - the publication traces central strategies and themes from this seminal period, particularly those of diplacement, transformation, metamorphosis, the `misnaming' of objects, and the representation of visions seen in half-waking states. The publication also presents new conservation research on Magritte's materials and techniques, and an illustrated chronology outlining significant moments in the artist's life during this significant period, including travel, connections with other surrealist artists and writers, contributions to journals, and important exhibitions and reviews.
Rene Magritte (1898-1967) was a surrealist artist whose thought-provoking works used ordinary objects to challenge how viewers perceived reality. His extensive oeuvre was documented in a comprehensive five-volume project, led by distinguished art critic and writer David Sylvester. In the years that followed the publication of the final volume in 1997, numerous works purporting to be by Magritte appeared on the art market. Under the auspices of the Fondation Magritte, a committee was established to verify the authenticity of newly discovered works as well as those previously recorded as "whereabouts unknown" or listed as appendix items in the original volumes of the" Rene Magritte Catalogue Raisonne."
"Rene Magritte: Newly Discovered Works" includes color illustrations of 130 previously unpublished or unknown works authenticated by the committee between September 2000 and March 2010. Like its predecessors, this volume is the culmination of years of research, which synthesizes new discoveries about the artworks and details of the life of Magritte himself. Accompanying text and comparative documentation provide a wealth of complementary information, including the circumstances of a work's discovery, references to letters, quotations in their original languages, and citations from previous volumes.
Largely self-taught as an artist, Francis Bacon (1909-1992) developed a unique ability to transform interior and unconscious impulses into figurative forms and intensely claustrophobic compositions. Emerging into notoriety in the period following World War II, Bacon took the human body as his nominal subject, but a subject ravaged, distorted, and dismembered so as to writhe with intense emotional content. With flailing limbs, hollow voids, and tumurous growths, his gripping, often grotesque, portraits are as much reflections on the trials and the traumas of the human condition as they are character studies. These haunting forms were also among the first in art history to depict overtly homosexual themes.
In this generously illustrated and lively book, Christopher Lloyd sets out and interprets the lifelong achievement of Picasso (1881-1973) as a draftsman. Although there have been many publications about his drawings that have tended to focus on particular periods of his career, this stunning volume specifically examines how drawing serves as the vital thread connecting all of Picasso's art, just as it also links his private world with his public persona of which he was becoming increasingly aware in his later years. Picasso and the Art of Drawing ultimately showcases how the basis of the titular artist's style as painter, sculptor, printmaker, and designer was manifestly achieved through drawing.
In Surrealism at Play Susan Laxton writes a new history of surrealism in which she traces the centrality of play to the movement and its ongoing legacy. For surrealist artists, play took a consistent role in their aesthetic as they worked in, with, and against a post-World War I world increasingly dominated by technology and functionalism. Whether through exquisite-corpse drawings, Man Ray's rayographs, or Joan Miro's visual puns, surrealists became adept at developing techniques and processes designed to guarantee aleatory outcomes. In embracing chance as the means to produce unforeseeable ends, they shifted emphasis from final product to process, challenging the disciplinary structures of industrial modernism. As Laxton demonstrates, play became a primary method through which surrealism refashioned artistic practice, everyday experience, and the nature of subjectivity.
Lieven Gevaert Series 5Surrealism's French manifestations are best known, but Belgium also had a complex history of Surrealist activity in the early twentieth century, one as radical and visionary as that in France. A number of groups affiliated with the movement met formed, split up, and reformed; it is almost impossible to summarize them. The essays in Collective Inventions offer glimpses into Belgian surrealism that range from explorations of specific historical turning points and comparisons with other versions of Surrealism to detailed portraits of individual artists and the meanings of their work. The authors use contemporary theoretical and critical models to explore artistic production in a variety of media, including painting and photography, film and fashion, postcards and Perspex.
Jorn + Munch is the first publication to examine the enduring impact Edvard Munch (1863-1944) had on Asger Jorn (1914-1973). In Munch's later works, Danish artist Jorn discovered an artist with a direct, spontaneous, and raw form of expression. Already influenced by surrealism's unprompted painting style, Jorn was naturally drawn to Munch's similarly unbridled compositions. In particular, Jorn was interested in Munch's use of intense colors and his gestural application of paint in the later works. From the middle of the 1940s, and for many years after that, Munch is shown to be a challenging and important reference point for Jorn's own body of work.
No Italian painter of this century has aroused so much comment, from eulogy to outright condemnation, as Giorgio de Chirico (1888-1978). One of the initiators of surrealism, he is a key figure in modern art; his influence on later painters, particularly during his metaphysical period, is second only to Picasso's. De Chirico relied on imagery from the unconscious to create art with mythological, philosophical, and historical overtones.
Many people know that Frida Kahlo (1907-1954) was a Mexican artist, a feminist icon who lived in the famous Blue House and whose work includes The Two Fridas. What, perhaps, they don't know is that 55 of her 143 artworks are self-portraits; that her painting Roots holds the record for a Latin American artwork, having sold for $5.6 million in 2006; that her love letters sold for $137,000; that she married her husband twice; or that she arrived for her first solo exhibition in an ambulance. This book casts a modern eye over her life and work, with an array of irresistible facts and figures converted into infographics to reveal the artist behind the pictures.
With Salvador Dali as its figurehead, the great ship of Surrealism traversed the turbulent seas of the early 20th century with sails billowing with dreams and desires. Inspired by the psychoanalytical practice of Sigmund Freud, the Surrealists championed the unconscious as the domain of truth, uninhibited by the standards or expectations of society. With techniques ranging from hypnotism to nocturnal walks to automatic writing, the likes of Andre Breton, Max Ernst, Brassai, and Meret Oppenheim produced paintings, drawings, texts, and films in which they sought to excavate their most intimate and primal instincts. The results abound with sexual fantasies, with mysterious, menacing creatures, and with the juxtaposition of seemingly contradictory objects or ideas. This book introduces the origins and the sensational legacy of the Surrealist movement, one of the most profound and enduring influences on film, theater, literature, art, and thought. Featured artists: Hans Arp, Andre Breton, Giorgio de Chirico, Salvador Dali, Max Ernst, Alberto Giacometti, Paul Klee, Rene Magritte, Andre Masson, Matta, Joan Miro, Pablo Picasso, Meret Oppenheim, Yves Tanguy
The Greek-American artist Kosta Alex (1925-2005) initially trained in figure sculpture in Manhattan. In 1947 he moved to Paris, where he mingled with and exhibited alongside the avant-garde artists of his day. His interest in the flattening of forms led him to create his first series of decoupage-collages in about 1950. Like many other artists of the time, he was drawn to using humble, utilitarian materials such as corrugated cardboard, packaging, newspapers, magazines, wallpaper, timetables, lists, maps, and other scraps culled from daily urban life. He integrated these elements into his art in an often poetic and humorous manner, using screws, nuts, staples, rope, string, and glue to connect them into a cohesive whole.
Alex also drew inspiration from classical sculpture, primitive art, and Islamic art, and employed repetitive themes and rhythmic arrangements in his compositions. In the late 1960s and early 1970s he produced groundbreaking collage-reliefs in expanded polystyrene, which Man Ray praised for breaking "the two-dimensional barrier." Handsomely illustrated, "Kosta Alex" is the first monograph on this intriguing artist.
"Les diners de Gala is uniquely devoted to the pleasures of taste ... If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you."-Salvador Dali Food and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dali (1904-1989) and his wife and muse, Gala (1894-1982) were the stuff of legend. Luckily for us, Dali published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings. This reprint features all 136 recipes over 12 chapters, specially illustrated by Dali, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dali's extravagant musings on subjects such as dinner conversation: "The jaw is our best tool to grasp philosophical knowledge." All these rich recipes can be cooked at home, although some will require practiced skill and a well-stocked pantry. This is cuisine of the old school, with meals by leading French chefs from such stellar Paris restaurants as Lasserre, La Tour d'Argent, Maxim's, and Le Train Bleu. Good taste, however voluptuous, never goes out of fashion. In making this exceptionally rare book available to a wide audience, TASCHEN brings an artwork, a practical cookbook, and a multisensory adventure to today's kitchens.The first English edition of Les Diners de Gala was published in 1973 by FELICIE, INC., New York
The paperback edition of a milestone work that has been unavailable for several years, documenting the short but influential life of Black Mountain College. Although it lasted only twenty-three years (1933-1956) and enrolled fewer than 1,200 students, Black Mountain College was one of the most fabled experimental institutions in art education and practice. Faculty members included Anni Albers, Josef Albers, Ilya Bolotowsky, John Cage, Harry Callahan, Merce Cunningham, Buckminster Fuller, Walter Gropius, Clement Greenberg, Lou Harrison, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Roger Sessions, Ben Shahn, Aaron Siskind, Esteban Vicente, and Stefan Wolpe. Among their students were Ruth Asawa, John Chamberlain, Ray Johnson, Kenneth Noland, Robert Rauschenberg, Dorothea Rockburne, Cy Twombly, and Susan Weil. Literature teachers included Robert Creeley, Robert Duncan, Charles Olson, and M.C. Richards, with students Fielding Dawson, Ed Dorn, Francine du Plessix Gray, Joel Oppenheimer, Arthur Penn, John Wieners, and Jonathan Williams. This book-the paperback edition of a milestone work that has been unavailable for several years-documents the short but influential life of Black Mountain College. Nearly 500 images, many in color and published for the first time in this book, show important works of art created by Black Mountain College faculty and students as well as snapshots of campus life. Four essays, all commissioned for the book, offer closer looks at the world of Black Mountain. Poet Robert Creeley recounts his first meeting with his mentor and friend Charles Olson. Composer Martin Brody offers a history of the musical world of the 1930s to 1950s, in which Black Mountain played a significant role. Critic Kevin Power looks at the experimental literary journal The Black Mountain Review, which was instrumental in launching the Black Mountain school of poetry. The book's editor, Vincent Katz, discusses the philosophy of the college's founders, the Bauhaus principles followed by art instructor Josef Albers, and the many interactions among the arts in the college's later years.
From men in bowler hats, floating in the sky, to a painting of a pipe above the caption "this is not a pipe", Rene Magritte (1898-1967) created an echo chamber of object and image, name and thing, reality and representation. Like other Surrealist works, Magritte's paintings combine a precise, mimetic technique with abnormal, alienating configurations which defy the laws of scale, logic, and science: a comb the size of a wardrobe, rocks that float in the sky, clouds that drift through an open door. The result is a direct yet disorientating realm, often witty, often unsettling, and always prompting us to look beyond the visible, to "what is hidden by what we see." This introductory book explores Magritte's vast repertoire of visual humor, paradox, and surprise which to this day makes us look and look again, not only at the painting, but at our sense of self and the world.
Though one of the most popular artists of the twentieth century, Salvador Dali is typically seen as peripheral to the dominant practices of modernist painting. Roger Rothman's Tiny Surrealism argues that this marginal position is itself a coherent response to modernism. It demonstrates how Dali's practice was organized around the logic of the inconsequential by focusing on Dali's identification with things that are literally tiny (ants, sewing needles, breadcrumbs, blackheads, etc.) as well as those that are metaphorically small (the trivial, the weak, the superficial, and the anachronistic). In addition to addressing the imagery of Dali's paintings, Tiny Surrealism demonstrates that the logic of the small was a fundamental factor in Dali's adherence to the techniques of miniaturist illusionism. Long derided as antimodernist and kitsch, Rothman demonstrates that Dali's style was itself a strategy of the small aimed at subverting the dominant values of modern painting. Tiny Surrealism not only examines Dali's pictorial work, it also probes the artist's many public pronouncements and private correspondences. By attending to the peculiarities of Dali's technique and examining overlooked aspects of his writings, Tiny Surrealism is the first study to detail his deliberate subversion of modernist orthodoxies.
The European Dada movement of the early 20th century has long been regarded as a male preserve, one in which women have been relegated to footnotes or mentioned only as the wives, girlfriends, or sisters of Dada men. This fascinating book challenges that assumption, focusing on the creative contributions made to Dada by five pivotal European women. Ruth Hemus establishes the ways in which Emmy Hennings and Sophie Taeuber in Zurich, Hannah Hoch in Berlin, and Suzanne Duchamp and Celine Arnauld in Paris made important interventions across fine art, literature, and performance. Hemus highlights how their techniques and approaches were characteristic of Dada's rebellion against aesthetic and cultural conventions, analyzes the impact of gender on each woman's work, and shows convincingly that they were innovators and not imitators. In its new and original perspective on Dada, the book broadens our appreciation and challenges accepted understandings of this revolutionary avant-garde movement.
Claude Cahun and Gillian Wearing came from different backgrounds and were living in different times - about a century apart. Cahun, along with her contemporaries Andre Breton and Man Ray, belonged to the French Surrealist movement although her work was rarely exhibited during her lifetime. Together with her female partner, the artist and stage designer Marcel Moore, Cahun was imprisoned in German-occupied Jersey during the Second World War as a result of her role in the French Resistance. Wearing trained at Goldsmiths and became part of the Young British Artist movement, winning the Turner Prize in 1997. She has exhibited extensively in the UK, including at the Whitechapel Gallery, and overseas, most recently at the IVAM in Valencia. Despite their different backgrounds, obvious parallels can be drawn between the artists: they share a fascination with identity and gender, which is played out through performance, and both use masquerade and backdrops to create elaborate mis-en-scene. Wearing has referenced Cahun overtly in the past: Me as Cahun Holding a Mask on My Face is a reconstruction of Cahun's self-portrait of 1927, and forms the starting point of this exhibition. In this book, Sarah Howgate, who has worked closely with Wearing, examines the self--portrait work of both artists, investigating how the cultural, historical, political and personal context affects their interpretation of similar themes. The book includes reproductions of over 100 key works, presented in thematic sections including Artistic Evolution, Performance, Masquerade and Momento Mori, accompanied by a commentary. The last section features new work s by Wearing: a `collaboration' (of sorts) with Cahun. The book also includes a revealing interview with Wearing by Howgate and an illuminating essay on Cahun by writer and curator Dawn Ades.
Surrealism is one of the most influential cultural movements of the twentieth century. While its contribution to the art and literature of the century is well known, its relation to the development of intellectual ideas has only recently become a matter of serious investigation. This book details the surrealist engagement with major themes in the intellectual history of the twentieth century. It draws together essays from the whole history of surrealism to illustrate the tenacity and consistency with which the surrealists treated themes of psychological reality and the construction of identity, cultural communication, freedom and poetry. Drawn mostly from French and Spanish surrealist journals, the collection gathers together a wide range of texts dating from the 1920s up to the late 1990s, none of which has ever been translated into English before. The Reader features writings by leading surrealists, including Aragon, Artaud, Bataille, Breton, Caillois, Crevel, Dali, Eluard, Mabille, Magritte, Morise and Tzara. It also serves as an introduction to major writers in surrealism whose work is largely unknown to English readers, such as Georges Henein, Rene Alleau, Gerard Legrand and Annie Le Brun. Divided into four thematic sections ('The Annihilation of Self-Identity'; 'The Challenge of Otherness'; 'The Moral Imperative'; 'The Tasks of Art and Poetry'), each chapter is accompanied by a short introduction, and each text is preceded by a brief explanation of its significance. Giving space to the many different voices that made up the movement, and placing them within a clear and coherent historical framework, the Reader will be an essential reference for students, scholars and all those interested in the central place of surrealism within twentiethcentury culture.
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