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In the years following World War I, a small group of writers, painters, and filmmakers called the Surrealists set out to change the way we perceive the world. In Surreal Lives, Ruth Brandon follows the lives and interactions of such firecracker minds as the movement's didactic "Pope", Andre Breton and the ambitious and manic Salvador Dali, as well as Marcel Duchamp, Francis Picabia, Tristan Tzara, Man Ray, Max Ernst, and filmmaker Luis Bunuel. It charts the shifting allegiances, such muses and patrons as Gala Dali and Peggy Guggenheim. Ruth Brandon spins the many stories of Surrealism with wit, energy, and insight, bringing sharp analysis to an eccentric cast of characters whose struggles and achievements came to mirror and define the way the world changed between the wars.
While much has been written on Marcel Duchamp - one of the twentieth century's most beguiling artists - the subject of his flirtation with architecture seems to have been largely overlooked. Yet, in the carefully arranged plans and sections organising the blueprint of desire in the Large Glass, his numerous pieces replicating architectural fragments, and his involvement in designing exhibitions, Duchamp's fascination with architectural design is clearly evident.As his unconventional architectural influences - Niceron, Lequeu and Kiesler - and diverse legacy - Tschumi, OMA, Webb, Diller + Scofidio and Nicholson - indicate, Duchamp was not as much interested in 'built' architecture as he was in the architecture of desire, re-constructing the imagination through drawing and testing the boundaries between reality and its aesthetic and philosophical possibilities. Marcel Duchamp and the Architecture of Desire examines the link between architectural thinking and Duchamp's work. By employing design, drawing and making - the tools of the architect - Haralambidou's work performs an architectural analysis of Duchamp's final enigmatic work Given: 1. The Waterfall, 2. The Illuminating Gas...demonstrating an innovative research methodology able to grasp meaning beyond textual analysis. This novel reading of his ideas and methods adds to, but also challenges, other art-historical interpretations. Through three main themes - allegory, visuality and desire - the book defines and theorises an alternative drawing practice positioned between art and architecture that predates and includes Duchamp.
This work reflects the search for proof of the existence of a mind that may be accurately called surrealist. Concentrating on painting and poetry, it shows how the surrealists envisaged, reacted to, and practiced art as a creative activity.
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.
This volume of 12 essays fills a broad gap in Modernist art history. Taken together, these case studies on artists and concepts present Dada as a coherent movement with a set of operating principles. Among the " tactics" elaborated are the hyperbolic mimicry of dominant social and linguistic conventions, the performance of gender and other aspects of identity, the usurpation of the modes of a new media culture and the marketplace, and the recycling of history and memory in a world traumatized by war. The Dada Seminars developed out of a series held by the Center for Advanced Study in the Visual Arts at the National Gallery of Art, in advance of 2005's major traveling exhibition on international Dada. Contributors include George Baker, T.J. Demos, Leah Dickerman, Uwe Fleckner, Hal Foster, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.
"Surrealism Revolts" accompanies a major Hayward exhibition that draws its inspiration and much of its material from "Documents", the ground breaking surrealist magazine edited by the French thinker Georges Bataille. Its aim is to re-invest some of the best-known modern masterpieces by artists such as Pablo Picasso, Salvador Dali, Joan Miro and Alberto Giacometti with some of the explosive vitality of the cultural and intellectual climate in Paris in the late 1920s. It reflects the visual richness and violent confrontations in "Documents" between art, archaeology, ethnography, film and popular culture.
Paul Nash is one of the most distinctive and important British artists of the 20th century. He is known for his work as an official war artist, producing some of the most memorable images of the First and Second World Wars, and also as one of the most evocative landscape painters of his generation. While best known for his British landscapes, Nash was also a pioneer of modernism in Britain, promoting the avant-garde European styles of abstraction and surrealism in the 1920s and 1930s. A major retrospective from Tate Britain will chart the developments of Nash's career for the first time through the lens of this perspective, showing how his landscapes provided a stage for his engagements with international modernism. Featuring works from across the four decades of his rich career, including oils, watercolours, assemblages and photographs, the exhibition and accompanying catalogue will be the first to examine Nash's work in an international context.The publication will explore how he drew on surrealist ideas to interpret the British landscape in a way that made connections between modernism and tradition, from his early Symbolist manner, through to the iconic works of the First World War as well as his major landscapes of the interwar period and his 1940s landscape series engaging with natural cycles. The catalogue will present new scholarship on Nash, highlighting in particular his connections with and contributions to modernist groupings; his interest in animism and mythological texts; his use and transformation of found objects (in creative dialogue with Eileen Agar); and his interest in archaeology. Fully illustrated with over 100 beautifully reproduced works from Nash's entire career and a wealth of archival material (some of it never before published), this is a timely survey of one of the most distinctive and well-loved artists of the 20th century.
The definitive survey of the literary and artistic aspects of surrealism.
The representation of the body, and particularly the female body, provides a common thread through the activities of the Surrealists. In fashion photography and illustration, the body was manipulated, fetishized and irrecoverably changed. The mechanics of fashion promotion ensured that this new vision of the body gained general currency and the fashion magazine played an innovative role in promoting a new and often highly eroticised femininity. From the jewellery of Salvador Dali and the collections of Elsa Schiaparelli and Meret Oppenheim to the representations of the body in fashion photography and ballet, "The Surreal Body" explores the widespread adoption of this imagery.
Surrealism is a particularly complex international movement, embracing both the literary and the visual arts, while lacking any single visual or literary style, and this, together with its long existence, has served to generate a very substantial body of writings - poetry, novels, essays, theoretical writings, manifestoes and other documents - which might be considered as fundamental to any proper understanding of the movement. The Sources of Surrealism is a comprehensive sourcebook documenting the origins and development of Surrealism internationally through a collection of 234 original documents. The texts have been selected from across the whole range of Surrealist writing, as well as including influential predecessors like Rimbaud and Lautreamont, and contemporaries such as Raymond Roussel and Alfred Jarry. Texts are published in English throughout, with new translations provided for previously untranslated material. The book addresses for the first time the neglected area of the relationship between Surrealism and popular culture, including Surrealism's engagement with cinema, and attempts to address the increased critical interest in what in the past were more neglected figures, such as Michel Leiris and Georges Bataille. Particular emphasis is given to the earlier documents and influences upon the Surrealist movement, as well as to the period of its internationalism during the 1930s, and the texts cover Surrealism in Britain and Belgium as well as France. This fascinating collection presents what was most vital about this complex and often contradictory movement, and serves as an essential reference book for scholars, as well as stimulating reading for all those with a general interest in the subject.
Vivienne Brough-Evans proposes a compelling new way of reevaluating aspects of international surrealism by means of the category of divin fou, and consequently deploys theories of sacred ecstasy as developed by the College de Sociologie (1937-39) as a critical tool in shedding new light on the literary oeuvre of non-French writers who worked both within and against a surrealist framework. The minor surrealist genre of prose literature is considered herein, rather than surrealism's mainstay, poetry, with the intention of fracturing preconceptions regarding the medium of surrealist expression. The aim is to explore whether International surrealism can begin to be more fully explained by an occluded strain of 'dissident' surrealist thought that searches outside the self through the affects of ekstasis. Bretonian surrealism is widely discussed in the field of surrealist studies, and there is a need to consider what is left out of surrealist practice when analysed through this Bretonian lens. The College de Sociologie and Georges Bataille's theories provide a model of such elements of 'dissident' surrealism, which is used to analyse surrealist or surrealist influenced prose by Alejo Carpentier, Leonora Carrington and Gellu Naum respectively representing postcolonial, feminist and Balkan locutions. The College and Bataille's 'dissident' surrealism diverges significantly from the concerns and approach towards the subject explored by surrealism. Using the concept of ekstasis to organise Bataille's theoretical ideas of excess and 'inner experience' and the College's thoughts on the sacred it is possible to propose a new way of reading types of International surrealist literature, many of which do not come to the forefront of the surrealist literary oeuvre.
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.
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.
Featuring more than 400 items from the collection of Gabrielle Keiller, including the work of Paolozzi, Ray, Magritte, Picasso and Dali, this catalogue is divided into two parts. The first part, which includes 173 items, comprises the framed or sculpted items which Mrs. Keiller had on permanent display at her house. The second part, comprising more than 250 items, consists of library material which was (and remains) shelved and boxed.
Officially Licensed Frida Kahlo Corporation Product. Mexican artist Frida Kahlo sought to define her identity, as well as that of Mexico. She explored themes of self-identity, gender, postcolonialism and popular culture from Mexico throughout her works. Now regarded as a feminist and LGBT icon, as well as a key artist during the twentieth century, this calendar celebrates Frida Kahlo's life with beautiful portraits alongside her famous quotes about life and art. Informative text accompanies each work and the datepad features previous and next months views.
The Mega Square Dal offers a brand new perspective on the self-proclaimed geniuss work thanks to the close-ups on specific details. Victoria Charles, Parkstones most prolific author, once more delivers a great text about this Surrealist painter. The Mega Square's small and practical format is bound to make a perfect gift.
The surrealist leader Andre Breton described desire as the "only master that man must recognize." One of surrealism's defining themes, desire was expressed variously in Dali's charged landscapes, Miro's lyric abstractions, and Bellmer's unsettling nudes. Influenced by Freud, the surrealists saw sexual desire as a path to self-knowledge--"a theatre of provocations and prohibitions in which life's most profound urges confront one another."
Published to accompany a major transatlantic exhibition of international surrealism, this lavishly illustrated catalogue explores desire in surrealist art in both words and images. Key works by such artists as Duchamp, Magritte, Ernst, Dali, de Chirico, Giacometti, Bellmer, Oppenheim, and Cahun are illustrated and discussed, as are surrealist films and photographs by Man Ray, Brassai, and others. The volume also features some of the rare and beautiful books produced by the surrealists in their celebration of love, as well as a selection of fascinating manuscripts, letters, and documentary photographs that reveal the personal contexts of the group's exploration of desire. Essays by leading scholars show how the theme of desire was implicated in almost all aspects of surrealist activity--not only its art and writings, but also its political struggles and its ethical stances on issues involving individual liberty and the social control of sexuality.
This attractive and provocative volume illustrates a vision of desire that embraces both sublime exaltation and dark carnality. It shows the unprecedented intensity with which the surrealists extolled love and the extent to which they depicted desire as implicated in every thought, action, event, and encounter. A major contribution to surrealist studies, this volume is edited by Jennifer Mundy, and has contributions from Dawn Ades, Katharine Conley, Neil Cox, Carolyn J. Dean, Hal Foster, Vincent Gille, Jean-Michel Goutier, David Hopkins, Radovan Ivsic, Julia Kelly, Annie Le Brun, David Lomas, and Alyce Mahon.
Tate Modern, London
The Metropolitan Museum of Art, New York
"With its unprecedented depth and range, this massive new history of Surrealism from veteran French philosopher and art critic Durozoi will be the one-volume standard for years to come. . . . The book discusses expertly the main surrealist artists like Jean Arp, Max Ernst, Ren Magritte, Yves Tanguy, Salvador Dal and Joan Mir , but also treats with considerable understanding the surrealist writing by Louis Aragon, Paul Eluard, Robert Desnos, Julien Gra q and, of course, the so-called 'Pope of Surrealism, ' Andr Breton. . . . This book should turn up in all serious collections on 20th century art."--Publishers Weekly, starred review From Dada to the Automatists, and from Max Ernst to Andr Breton, G rard Durozoi here provides the most comprehensive history of the Surrealist movement. Tracing the movement from its origins in the 1920s to its decline in the 1950s and 1960s, Durozoi tells the history of Surrealism through its activities, publications, and reviews, demonstrating its close ties to some of the most explosive political, as well as creative, debates of the twentieth century. Drawing on a staggering amount of documentary and visual evidence--including 1,000 photos--Durozoi illuminates all the intellectual and artistic facets of the movement, from literature and philosophy to painting, photography, and film, thus making History of the Surrealist Movement its definitive encyclopedia.
"Modernism-Dada-Postmodernism" collects, updates, integrates and contextualizes the critic Richard Sheppard's essays on the historical avant-garde. Sheppard's topic in all of these essays is the modernist writers', artists', and philosophers' linguistic and visual responses to a changed sense of reality and human nature. Beginning with an overview of the problematics of European modernism, Sheppard establishes the dialectical relationship between the cultural crisis that occurred during the period 1880-1936 and the different responses from European modernists and the avant-garde. With its combination of classic and new essays and its perspective on the theoretical avant-garde/modernism debate in the United States, Sheppard's volume should give the specialist as well as the general reader an insight into the highest sample of European scholarly discourse on this subject.
Modernism-Dada-Postmodernism collects, updates, integrates and contextualizes the critic Richard Sheppard's essays on the historical avant-garde. Sheppard's topic in all of these essays is the modernist writers', artists', and philosophers' linguistic and visual responses to a changed sense of reality and human nature. Beginning with an overview of the problematics of European modernism, Sheppard establishes the dialectical relationship between the cultural crisis that occurred during the period 1880-1936 and the different responses from European modernists and the avant-garde. With its combination of classic and new essays and its perspective on the theoretical avant-garde/modernism debate in the United States, Sheppard's volume should give the specialist as well as the general reader an insight into the highest sample of European scholarly discourse on this subject.
The early surrealists attempted to create art directly from the unconscious, but the resulting art often reveals the stamp of its age. It is generally accepted that a certain macho sensibility prevailed within the movement, excluding queer sensibilities and reducing women to object status. In startling new readings of Breton, Bataille, Cocteau, Artaud, Crevel and others, Justin Vicari examines the intersections between surrealism and mental illness, deploying an interdisciplinary approach, which includes aesthetic theory, radical politics, and psychoanalysis. Of particular interest is the representation of the ideal woman as not only sexually available but mentally ill, a hysteric muse representing a kind of "authenticity" lost in modern life.
German-French sculptor, painter and poet Jean Arp (1886-1966) is one of the most important pioneers of twentieth century non-figurative art. A founder of the Zurich and Cologne Dada movements, a key Surrealist and Constructivist and later a founder of the Paris Abstraction-Creation movement, he was always at the forefront of his era's evolving avant gardes. His work was by turns powerful, organic, anthropomorphic, biomorphic, geometric, coincidental and formal, evoking "the natural process of compression, hardening, of coagulation, of thickening, of growing together." In general, Arp preferred not to talk about his abstractions, citing the fact that sculptural forms in nature do not illustrate, but rather paraphrase and produce concrete forms themselves. He did not want to work "according" to nature, but "like" nature. This beautifully produced volume, which documents the complete range of Arp's artistic and poetic oeuvre, is published on the occasion of the opening of Germany's Arp Museum extension, designed by the Pritzker-Prize-winning New York architect Richard Meier. The new panel-and-glass Modernist extension is situated high atop a bank of the Rhine River, accessible by an innovative subterranean passageway connected to a monumental elevator that cuts through the heavily wooded hillside below the museum.
The works of Rene Magritte (1898 - 1967) and the ideas that underlie them are a special case both in the history of modern art and in surrealist painting. In the search for the "mystery" in which things and organisms are enveloped, Magritte created pictures which, taking everyday reality as their starting point, were to follow a different logic from that to which we are accustomed. Magritte depicts the world of reality in such unsecretive superficiality that the beholder of his pictures is forced to reflect that the mystery of it is not evoked by some sentimental transfiguration, but rather by the logic of his thoughts and associations. Magritte thus invented an inimitable pictorial language which he uses to question our usual comprehension of pictures. In this book Jacques Meuris traces Magritte's artistic development from its beginnings until the end of his life, and in doing so underlines the originality of this great Belgian Surrealist.
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.
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