All too often, the historical avant-garde is taken to be
incommensurate with and antithetical to the world inhabited by the
museum. In The Curatorial Avant-Garde, by contrast, Adam Jolles
demonstrates the surrealists’ radical transformation of the ways
in which spectators encountered works of art between the wars. From
their introduction in Paris in 1925, surrealist exhibitions
dissolved the conventional boundaries between visual media,
language, and the space of public display. This intrusion—by a
group of amateur curators, with neither formal training nor
professional experience in museums or galleries—ultimately
altered the way in which surrealists made, displayed, and promoted
their own art. Through interdisciplinary analyses of particular
exhibitions and works of art in relation to the manner in which
they were displayed, Jolles addresses this public face of
surrealism. He directs attention to the venues, the contemporary
debates those venues engendered, and the critical discourses in
which they participated. In so doing, he shines new light on the
movement’s artistic and intellectual development, revealing both
the political stakes attached to surrealism within the historical
context of interwar Europe and the movement’s instrumental role
in the trajectory of modernism.
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