ARH 4XXX Global Surrealisms
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The Art Collection of Peter Watson (1908–1956)
099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement. -
Gordon Onslow Ford Voyager and Visionary
Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig. -
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............................................................................................................................................... -
Michele Greet - Inventing Wilfredo Lam: the Parisian Avant-Garde's Primitivist Fixation
Michele Greet - Inventing Wilfredo Lam: The Parisian Avant-Garde's Primitivist Fixation Back to Issue 5 Inventing Wifredo Lam: The Parisian Avant-Garde's Primitivist Fixation Michele Greet © 2003 "It is — or it should be — a well-known fact that a man hardly owes anything but his physical constitution to the race or races from which he has sprung." 1 This statement made by art critic Michel Leiris could not have been further from the truth when describing the social realities that Wifredo Lam experienced in France in the late 1930s. From the moment he arrived in Paris on May 1, 1938, with a letter of introduction to Pablo Picasso given to him by Manuel Hugué, prominent members of the Parisian avant-garde developed a fascination with Lam, not only with his work, but more specifically with how they perceived race to have shaped his art. 2 Two people in particular took an avid interest in Lam—Picasso and André Breton—each mythologizing him order to validate their own perceptions of non- western cultures. This study will examine interpretations of Lam and his work by Picasso, Breton and other members of the avant-garde, as well as Lam's response to the identity imposed upon him. ******* In 1931, the Colonial Exposition set the mood for a decade in which France asserted its hegemony – in the face of Nazi Germany, Stalinist Russia, and Fascist Italy – through a conspicuous display of control over its colonial holdings. The exposition portrayed the colonies as a pre-industrial lost arcadia, occupied by noble savages who were untouched by the industrial advances of the western world. -
Drawing Surrealism Didactics 10.22.12.Pdf
^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included. -
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. -
15.04.03 >09.14
PRE PRESSKIT LEIRIS & CO. PICASSO, MASSON, MIRÓ, GIACOMETTI, LAM, BACON... > 15.04.03 09.14 centrepompidou-metz.fr CONTENTS 1. EXHIBITION OVERVIEW ......................................................................... 2 2. EXHIBITION LAYOUT ............................................................................ 4 3. MICHEL LEIRIS: IMPORTANT DATES ...................................................... 9 4. PRELIMINARY LIST OF ARTISTS ........................................................... 11 5. VISUALS FOR THE PRESS ................................................................... 12 PRESS CONTACT Noémie Gotti Communications and Press Officer Tel: + 33 (0)3 87 15 39 63 Email: [email protected] Claudine Colin Communication Diane Junqua Tél : + 33 (0)1 42 72 60 01 Mél : [email protected] Cover: Francis Bacon, Portrait of Michel Leiris, 1976, Centre Pompidou, Musée national d’art moderne, Paris © The Estate of Francis Bacon / All rights reserved / ADAGP, Paris 2014 © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Bertrand Prévost LEIRIS & CO. PICASSO, MASSON, MIRÓ, GIACOMETTI, LAM, BACON... 1. EXHIBITION OVERVIEW LEIRIS & CO. PICASSO, MASSON, MIRÓ, GIACOMETTI, LAM, BACON... 03.04 > 14.09.15 GALERIE 3 At the crossroads of art, literature and ethnography, this exhibition focuses on Michel Leiris (1901-1990), a prominent intellectual figure of 20th century. Fully involved in the ideals and reflections of his era, Leiris was both a poet and an autobiographical writer, as well as a professional -
Surrealism-Revolution Against Whiteness
summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ...................... -
Derek Sayer ANDRÉ BRETON and the MAGIC CAPITAL: an AGONY in SIX FITS 1 After Decades in Which the Czechoslovak Surrealist Group
Derek Sayer ANDRÉ BRETON AND THE MAGIC CAPITAL: AN AGONY IN SIX FITS 1 After decades in which the Czechoslovak Surrealist Group all but vanished from the art-historical record on both sides of the erstwhile Iron Curtain, interwar Prague’s standing as the “second city of surrealism” is in serious danger of becoming a truth universally acknowledged.1 Vítězslav Nezval denied that “Zvěrokruh” (Zodiac), which appeared at the end of 1930, was a surrealist magazine, but its contents, which included his translation of André Breton’s “Second Manifesto of Surrealism” (1929), suggested otherwise.2 Two years later the painters Jindřich Štyrský and Toyen (Marie Čermínová), the sculptor Vincenc Makovský, and several other Czech artists showed their work alongside Hans/Jean Arp, Salvador Dalí, Giorgio De Chirico, Max Ernst, Paul Klee, Joan Miró, Wolfgang Paalen, and Yves Tanguy (not to men- tion a selection of anonymous “Negro sculptures”) in the “Poesie 1932” exhibition at the Mánes Gallery.3 Three times the size of “Newer Super-Realism” at the Wads- worth Atheneum the previous November – the first surrealist exhibition on Ameri- 1 Not one Czech artist was included, for example, in MoMA’s blockbuster 1968 exhibition “Dada, Surrealism, and Their Heritage” or discussed in William S. Rubin’s accompanying monograph “Dada and Surrealist Art” (New York 1968). – Recent western works that seek to correct this picture include Tippner, Anja: Die permanente Avantgarde? Surrealismus in Prag. Köln 2009; Spieler, Reinhard/Auer, Barbara (eds.): Gegen jede Vernunft: Surrealismus Paris-Prague. Ludwigshafen 2010; Anaut, Alberto (ed.): Praha, Paris, Barcelona: moderni- dad fotográfica de 1918 a 1948/Photographic Modernity from 1918 to 1948. -
De Chirico in the René Gaffé Collection& the Role of E.L.T Mesens
The archival materials cited in this essay are courtesy of The Getty Research Institute, Los Angeles 43 De Chirico in the René Gaffé Collection & the Role of E.L.T Mesens (Brussels – London) Victoria Noel-Johnson In 1946, René Gaffé (Brussels, 1887-1968) – the Belgian journal- ist, author, collector and bibliophile - wrote a short monograph dedicated to Giorgio de Chirico entitled Giorgio de Chirico. Le voy- ant (Éditions La Boétie, Brussels, fig. 1).1 Published in Gaffé’s na- tive city, the book contains an extensive yet overlooked essay about de Chirico’s early Metaphysical work, as well as a total of 24 black and white reproductions of important paintings executed in the 1910s and 1920s. As an important connoisseur and collector of de Chirico’s œuvre, together with work by Belgian Surrealists such as René Magritte and Paul Delvaux, this article will principally focus on Gaffé’s keen interest in de Chirico, which, in turn, helped disseminate knowledge about his painting within Belgium during fig. 1 R. Gaffé, Giorgio de Chirico. Le 2 the early twentieth century. As his impressive art collection was Voyant, Éditions La Boétie, Brussels, 1946 built and then partly sold off with the intervention of Eduoard Léon Théodore Mesens (Brussels, 1903-1971), a Belgian gallerist and editor who championed Surrealism in Belgium and later in the UK (mainly initiated by the 1937 sale of a substantial part of Gaffé’s collection to the British collector Roland Penrose), this paper will also examine Mesens’ involvement in the acquisition and sale of Gaffé’s de Chiricos.3 1 This article is the expanded and revised version of the article Le voyant: analyse des liens entre René Gaffé et Giorgio de Chirico, in Giorgio de Chirico. -
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.