Cubierta: Fotografía De Humberto Rivas (Consultar Librería)
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André Breton Och Surrealismens Grundprinciper (1977)
Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8............................................................................................................................................... -
Networking Surrealism in the USA. Agents, Artists and the Market
151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh. -
Tate Papers - the 'Comic Sublime': Eileen Agar at Ploumanac'h
Tate Papers - The 'Comic Sublime': Eileen Agar at Ploumanac'h http://www.tate.org.uk/research/tateresearch/tatepapers/05autumn/walke... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL The 'Comic Sublime': Eileen Agar at Ploumanac'h Ian Walker Fig.1 Eileen Agar 'Rockface', Ploumanach 1936 Black and white photograph reproduced from original negative Tate Archive Photographic Collection 5.4.3 © Tate Archive 2005 On Saturday 4 July 1936, the International Surrealist Exhibition in London came to an end. In that same month, the Architectural Review magazine announced a competition. In April, they had published Paul Nash's article 'Swanage or Seaside Surrealism'.1 Now, in July, the magazine offered a prize for readers who sent in their own surrealist holiday photographs – 'spontaneous examples of surrealism discerned in English holiday resorts'. The judges would be Nash and Roland Penrose .2 At face value, this could be taken as a demonstration of the irredeemable frivolity of surrealism in England (it is difficult to imagine a surrealist snapshot competition in Paris judged by André Breton and Max Ernst ). But in a more positive light, it exemplifies rather well the interest that the English had in popular culture and in pleasure. Holidays were very important in English surrealism and some of its most interesting work was made during them. This essay will examine closely one particular set of photographs made by Eileen Agar in that month of July 1936 which illustrate this relationship between surrealism in England and pleasure. Eileen Agar had been one of the English stars of the surrealism exhibition, even though she had apparently not thought of herself as a 'surrealist' until the organizers of the show – Roland Penrose and Herbert Read – came to her studio and declared her to be one. -
Papers of Surrealism, Issue 8, Spring 2010 1
© Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination. -
Neuerscheinungen / New Releases / Nouveautés 2018 A
Neuerscheinungen / New releases / Nouveautés 2018 A Remy Van den Abeele en rage | Famenne & Art Museum, Marche-en-Famenne/BE Eileen Agar. Dreaming oneself awake | Farleys House & Gallery, Chiddingly, East Sussex/GB Artaud 1936 | Museo Tamayo, Chapultepec/MX Antonin Artaud. Zeichnungen und Porträts | Schirmer & Mosel, München Di Ponio, Amanda: The Early Modern Theatre of Cruelty and its Doubles – Artaud and Influence | Springer Verlag, Heidelberg Naranjo, Jorge Alberto: Nietzsche y Artaud | Universidad de Antioquia, Medellín/CO B Enrico Baj. Le macchine del tempo | Galleria ZetaEffe, Florenz Hugo Ball: Die Flucht aus der Zeit | (Tagebuch) Hugo-Ball-Gesellschaft, Göttingen (Neuauflage) Karol Baron – ze soukromých sbírek | Galerie Emila Juliše, Černčice u Loun/CZ Georges Bataille: The Sacred Conspiracy | College of Sociology and the secret society of Acéphale, New York Juan Batlle Planas : El gabinete surrealista | Fondación Juan March, Mallorca Bacon – Giacometti | Fondation Beyeler, Riehen b. Basel Bohn, Willard: The Early Avant-Garde in Twentieth-Century Literature and Art | Taylor & Francis Ltd, London Yves Bonnefoy: Correspondance, Bd. 1 | Les Belles Lettres, Paris Camiel van Breedam | Zebra Straat, Gent/BE Plisson, Jean-Pierre: André Breton: Le Fil Rouge des Enchantements | Les Éditions du Travail, Montreuil/FR C Agustín Cárdenas | Galerie Mitterand, Paris Claude Cahun: Beneath this Mask | Keele University Art Gallery, Keele/GB Alexander Calder: Radical Inventor | Musée des Beau-Arts Montréal Leonora Carrington. Cuentos mágicos | Museo de Arte Moderno, Mexiko-Stadt Caws, M. A.: The Milk Bowl of Feathers: Essential Surrealist Writings | Poets House, New York Leclair, Danièle: René Char | Aden Éditions, Brüssel Giorgio de Chirico. Capolavori dalla Collezione di Francesco Federico Cerruti | Castello di Rivoli, Turin Pontiggia, Elena (Hg.): Giorgio de Chirico: Lettere (1909–1929) | Silvana Editoriale, Rom Dottori, Riccardo: Giorgio de Chirico. -
Photography in Post-War Surrealist Journals
Northumbria Research Link Citation: Donkin, Hazel (2010) Surrealism, photography and the periodical press: an investigation into the use of photography in surrealist publications (1924 - 1969) with specific reference to themes of sexuality and their interaction with commercial photographic images of the period. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/2584/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Surrealism, Photography and the periodical Press: An investigation into the use of photography in surrealist publications (1924 — 1969) with specific reference to themes of sexuality and their interaction with commercial photographic images of the period -
Drawing Surrealism CHECKLIST
^ Drawing Surrealism CHECKLIST EILEEN AGAR Argentina, 1899–1991, active England Ladybird , 1936 Photograph with gouache and ink 3 3 29 /8 x 19 /8 in. (74.3 x 49.1 cm) Andrew and Julia Murray, Norfolk, U.K. Philemon and Baucis , 1939 Collage and frottage 1 1 20 /2 x 15 /4 in. (52.1 x 38.7 cm) The Mayor Gallery, London AI MITSU Japan, 1907–1946 Work , 1941 Sumi ink 3 1 10 /8 x 7 /8 in. (26.4 x 18 cm) The National Museum of Modern Art, Tokyo GUILLAUME APOLLINAIRE Italy, 1880–1918, active France La Mandoline œillet et le bambou (Mandolin Carnation and Bamboo), c. 1915–17 Ink and collage on 3 pieces of paper 7 1 10 /8 x 8 /8 in. (27.5 x 20.9 cm) Musée national d’art moderne, Centre Georges Pompidou, Paris, Purchase 1985 JEAN (BORN HANS) ARP Germany, 1886–1966, active France and Switzerland Untitled , c. 1918 Collage and mixed media 1 5 8 /4 x 11 /8 in. (21 x 29.5 cm) Mark Kelman, New York Untitled , 1930–33 Collage 1 5 6 /8 x 4 /8 in. (15.6 x 11.8 cm) Private collection Untitled , 1940 Collage and gouache 1 1 7 /4 x 9 /2 in. (18.4 x 24.1 cm) Private collection JOHN BANTING England, 1902–1972 Album of 12 Blueprints , 1931–32 Cyanotype 1 3 3 Varying in size from 7 3/4x 6 /4 in. (23.5 x 15.9 cm.) to 12 /4 x 10 /4 in. (32.4 x 27.3 cm) Private collection GEORGES BATAILLE France, 1897–1962 Untitled Drawings for Soleil Vitré , c. -
The Interwar Years,1930S
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • My sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
Surrealism, Occultism and Politics
Surrealism, Occultism and Politics This volume examines the relationship between occultism and Surrealism, specif- ically exploring the reception and appropriation of occult thought, motifs, tropes and techniques by surrealist artists and writers in Europe and the Americas from the 1920s through the 1960s. Its central focus is the specific use of occultism as a site of political and social resistance, ideological contestation, subversion and revolution. Additional focus is placed on the ways occultism was implicated in surrealist dis- courses on identity, gender, sexuality, utopianism and radicalism. Dr. Tessel M. Bauduin is a Postdoctoral Research Associate and Lecturer at the Uni- versity of Amsterdam. Dr. Victoria Ferentinou is an Assistant Professor at the University of Ioannina. Dr. Daniel Zamani is an Assistant Curator at the Städel Museum, Frankfurt am Main. Cover image: Leonora Carrington, Are you really Syrious?, 1953. Oil on three-ply. Collection of Miguel S. Escobedo. © 2017 Estate of Leonora Carrington, c/o Pictoright Amsterdam 2017. This page intentionally left blank Surrealism, Occultism and Politics In Search of the Marvellous Edited by Tessel M. Bauduin, Victoria Ferentinou and Daniel Zamani First published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Tessel M. Bauduin, Victoria Ferentinou and Daniel Zamani to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. -
Ars Libri Ltd Modernart
MODERNART ARS LIBRI LT D 149 C ATALOGUE 159 MODERN ART ars libri ltd ARS LIBRI LTD 500 Harrison Avenue Boston, Massachusetts 02118 U.S.A. tel: 617.357.5212 fax: 617.338.5763 email: [email protected] http://www.arslibri.com All items are in good antiquarian condition, unless otherwise described. All prices are net. Massachusetts residents should add 6.25% sales tax. Reserved items will be held for two weeks pending receipt of payment or formal orders. Orders from individuals unknown to us must be accompanied by pay- ment or by satisfactory references. All items may be returned, if returned within two weeks in the same con- dition as sent, and if packed, shipped and insured as received. When ordering from this catalogue please refer to Catalogue Number One Hundred and Fifty-Nine and indicate the item number(s). Overseas clients must remit in U.S. dollar funds, payable on a U.S. bank, or transfer the amount due directly to the account of Ars Libri Ltd., Cambridge Trust Company, 1336 Massachusetts Avenue, Cambridge, MA 02238, Account No. 39-665-6-01. Mastercard, Visa and American Express accepted. June 2011 avant-garde 5 1 AL PUBLICO DE LA AMERICA LATINA, y del mondo entero, principalmente a los escritores, artistas y hombres de ciencia, hacemos la siguiente declaración.... Broadside poster, printed in black on lightweight pale peach-pink translucent stock (verso blank). 447 x 322 mm. (17 5/8 x 12 3/4 inches). Manifesto, dated México, sábado 18 de junio de 1938, subscribed by 36 signers, including Manuel Alvárez Bravo, Luis Barragán, Carlos Chávez, Anto- nio Hidalgo, Frieda [sic] Kahlo, Carlos Mérida, César Moro, Carlos Pellicer, Diego Rivera, Rufino Tamayo, Frances Toor, and Javier Villarrutia. -
ARH 4XXX Global Surrealisms
Cover Sheet: Request 15907 ARH 4XXX – Global Surrealisms Info Process Course|New|Ugrad/Pro Status Pending at PV - University Curriculum Committee (UCC) Submitter Rachel Silveri [email protected] Created 2/28/2021 4:52:36 PM Updated 5/4/2021 12:20:18 PM Description of New upper-division ARH course that examines the global spread of the Surrealist movement. request Actions Step Status Group User Comment Updated Department Approved CFA - Art and Art Elizabeth Caple 3/29/2021 History 13020000 No document changes College Approved CFA - College of Jennifer Setlow 4/16/2021 Fine Arts No document changes University Pending PV - University 4/16/2021 Curriculum Curriculum Committee Committee (UCC) No document changes University Pending PV - University 4/16/2021 Curriculum Curriculum Committee Committee (UCC) No document changes Statewide Course Numbering System No document changes Office of the Registrar No document changes Student Academic Support System No document changes Catalog No document changes College Notified No document changes Course|New for request 15907 Info Request: ARH 4XXX – Global Surrealisms Description of request: New upper-division ARH course that examines the global spread of the Surrealist movement. Submitter: Rachel Silveri [email protected] Created: 5/4/2021 12:19:18 PM Form version: 6 Responses Recommended Prefix Enter the three letter code indicating placement of course within the discipline (e.g., POS, ATR, ENC). Note that for new course proposals, the State Common Numbering System (SCNS) may assign a different prefix. Response: ARH Course Level Select the one digit code preceding the course number that indicates the course level at which the course is taught (e.g., 1=freshman, 2=sophomore, etc.). -
Complete Dissertation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Table of Contents Page Title page 2 Abstract 3 Acknowledgements 4 Introduction 5 Chapter 1 A brief biography of E J Power 8 Chapter 2 Post-war collectors of contemporary art. 16 Chapter 3 A Voyage of Discovery – Dublin, London, Paris, Brussels, 31 Copenhagen. Chapter 4 A further voyage to American and British Abstraction and Pop Art. 57 Conclusion 90 List of figures 92 Appendices 93 Bibliography 116 1 JUDGEMENT BY EYE THE ART COLLECTING LIFE OF E. J. POWER 1950 to 1990 Ian S McIntyre A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS THE UNIVERSITY OF EAST ANGLIA September 2008 2 Abstract Ian S McIntyre 2008 JUDGEMENT BY EYE The art collecting life of E J Power The thesis examines the pattern of art collecting of E J Power, the leading British patron of contemporary painting and sculpture in the period after the Second World War from 1950 to the 1970s. The dissertation draws attention to Power’s unusual method of collecting which was characterised by his buying of work in quantity, considering it in depth and at leisure in his own home, and only then deciding on what to keep or discard. Because of the auto-didactic nature of his education in contemporary art, Power acquired work from a wide cross section of artists and sculptors in order to interrogate the paintings in his own mind. He paid particular attention to the works of Nicolas de Stael, Jean Dubuffet, Asger Jorn, Sam Francis, Barnett Newman, Ellsworth Kelly, Francis Picabia, William Turnbull and Howard Hodgkin.