Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, First World War to 1960 > Surrealism & Dada
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Compulsive Beauty (Paperback, New Ed)
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Compulsive Beauty (Paperback, New Ed)
Series: October Books
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In Compulsive Beauty, Foster reads surrealism from its other,
darker side: as an art given over to the uncanny, to the compulsion
to repeat and the drive toward death. Surrealism has long been seen
as its founder, Andre Breton, wanted it to be seen: as a movement
of love and liberation. In Compulsive Beauty, Foster reads
surrealism from its other, darker side: as an art given over to the
uncanny, to the compulsion to repeat and the drive toward death. To
this end Foster first restages the difficult encounter of
surrealism with Freudian psychoanalysis, then redefines the crucial
categories of surrealism-the marvelous, convulsive beauty,
objective chance-in terms of the Freudian uncanny, or the return of
familar things made strange by repression. Next, with the art of
Giorgio de Chirico, Max Ernst, and Alberto Giacometti in mind,
Foster develops a theory of the surrealist image as a working over
of a primal fantasy. This leads him finally to propose as a summa
of surrealism a body of work often shunted to its margins: the
dolls of Hans Bellmer, so many traumatic tableaux that point to
difficult connections not only between sadism and masochism butal
so between surrealism and fascism. At this point Compulsive Beauty
turns to the social dimension of the surrealist uncanny. First
Foster reads the surrealist repertoire of automatons and mannequins
as a reflection on the uncanny processes of mechanization and
commodification. Then he considers the surrealist use of outmoded
images as an attempt to work through the historical repression
effected by these same processes. In a brief conclusion he
discusses the fate of surrealism today in a world become
surrealistic. Compulsive Beauty not only offers a deconstructive
reading of surrealism, long neglected by Anglo-American art
history, but also participates in a postmodern reconsideration of
modernism, the dominant accounts of which have obscured its
involvements in desire and trauma, capitalist shock and
technological development.
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