Contemporary feminist critics have often described Surrealism as a
misogynist movement. In "Automatic Woman," Katharine Conley
addresses this issue, confirming some feminist allegations while
qualifying and overturning others. Through insightful analyses of
works by a range of writers and artists, Conley develops a complex
view of Surrealist portrayals of Woman.
Conley begins with a discussion of the composite image of Woman
developed by such early male Surrealists as Andre Breton, Francis
Picabia, and Paul Eluard. She labels that image "Automatic
Woman"--a term that comprises views of Woman as provocative and
revolutionary but also as a depersonalized object largely devoid of
individuality and volition. This analysis largely confirms feminist
critiques of Surrealism. The heart of the book, however, examines
the writings of Leonora Carrington and Unica Zurn, two women in the
Surrealist movement whose works, Conley argues, anticipate much
contemporary feminist art and theory. In concluding, Conley shows
how Breton's own views on women evolved in the course of his long
career, arriving at last at a position far more congenial to
contemporary feminists.
"Automatic Woman" is distinguished by Katharine Conley's
judicious understanding of how women--and the image of
Woman--figured in Surrealism. The book is an important contemporary
account of a cultural movement that continues to fascinate,
influence, and provoke us.
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