Dorothea Tanning
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Reconsidering the Female Monster in the Art of Leonor Fini
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository Sphinxes, Witches and Little Girls: Reconsidering the Female Monster in the Art of Leonor Fini Rachael Grew Abstract As champions of the irrational and the uncanny, the Surrealists frequently incorporated classical monsters into their art as part of their search for a new modern myth. However, these creatures became subject to gender codification, with the sphinx and chimera in particular becoming attached to the imagery surrounding the sexually provocative, castrating femme-fatale. The woman Surrealist Leonor Fini (1907-1996) diverged from the Surrealist norm to create complex and ambiguous monsters, rather than simply expressions of the lethally enticing femme-fatale. Fini uses a range of monsters in her art, from the classical sphinx to creatures of popular culture, such as the witch and the werewolf. These monsters are almost always female, or at the very least androgynous, yet the actions and attitudes they are found in invites a new reading of the destructive female monster and/or the ‘monstrous’ female. Equally, the children and adolescent girls that appear in her work are often depicted in a negative light: they are ugly, unkind and selfish. Through a detailed iconographical analysis, this paper will explore Fini’s use of both traditional and non-traditional monsters as a method of subverting preconceived gender and social codes, ultimately reconsidering the notion of what exactly is monstrous. Key words: Surrealism, Fini, myth, monsters, sphinx, witch, stryge, woman. ***** The female monster in both classical and popular traditions, such as the sphinx, chimera, siren and witch, is frequently associated with depraved sexuality and destruction. -
Peggy Guggenheim @ Ordovas
PEGGY GUGGENHEIM @ ORDOVAS Peggy Guggenheim (1898-1979) is probably best known for her Venice collection, but the American born socialite turned art collector actually first exhibited her pieces in London and New York before settling in Italy. In fact, she even established a gallery in Britain, Guggenheim Jeune, which ran between 1938 and 1939, and which is now the subject of a new exhibition Peggy Guggenheim and London at Ordovas in Mayfair. Herbert Read and Peggy Guggenheim in her London gallery, circa 1939 © IMEC, Fonds MCC, Dist. RMN-Grand Palais/Gisele Freund © ARS, NY and DACS, London 2019 Located at 30 Cork Street, the location of Guggenheim’s London outfit is still a hub of contemporary art today and is just around the corner from the exhibition that is now commemorating its existence on Savile Row. Open between January 1938 and June 1939, Guggenheim Jeune exhibited the work of Jean Cocteau, Pablo Picasso, Salvador Dali, Henry Moore, Rene Magritte and Max Ernst against many others. The first ever artwork she acquired was a sculpture by Jean (Hans) Arp, Tete et coquille (1933), who featured in a quarter of all exhibitions in London. And, it is the work of Arp, along with Yves Tanguy – the artist behind the gallery’s most successful exhibition, Exhibition of Paintings by Yves Tanguy (6-16 July 1938) – whose work is on display at Ordovas today, 80 years after Guggenheim Jeune’s closure. Installation shot of Peggy Guggenheim and London at Ordovas, London, 2019. Photo: Andrew Smart The name – Guggenheim Jeune – was the idea of Guggenheim’s friend Winifred Henderson and it associates itself with both Guggenheim as the younger of two Guggenheim art giants (the elder being her uncle Solomon), as well as comparing itself to Bernheim Jeune, the leading Parisian gallery at the time. -
G E R a L D I N E C R A
GERALDINE CRAIG 111 Willard Hall Manhattan, KS 66506-3705 [email protected] E DUCATION 1987 - 1989 M.F.A. Fiber, Cranbrook Academy of Art, Bloomfield Hills, MI 1977 - 1982 B.F.A. Textile Design, University of Kansas, Lawrence, KS B.F.A. History of Art, University of Kansas, Lawrence, KS 1979 - 1980 University of St. Andrews, St. Andrews, Scotland (Philosophy, Art History) P ROF E SSIONAL E X pe RI E NC E 2007 - Professor of Art Kansas State University, Manhattan, KS Associate Dean of the Graduate School (2014-2018) Department Head of Art (2007-2014) Associate Professor of Art (2007-2014) 2001 - 2007 Assistant Director for Academic Programs Cranbrook Academy of Art, Bloomfield Hills, MI Developed annual Critical Studies/Humanities program; academic administration 2005 - Regional Artist/Mentor, Vermont College M.F.A. Program Vermont College, Montpelier, VT 1995 - 2001 Curator of Education/Fine and Performing Arts Wildlife Interpretive Gallery, Detroit Zoological Institute, Royal Oak, MI Develop/manage permanent art collection, performing arts programs, temporary exhibits 1994 - 1995 James Renwick Senior Research Fellowship in American Crafts Smithsonian Institution, Washington, D.C. 1990 - 1995 Executive Director Detroit Artists Market, (non-profit art center, est. 1932), Detroit, MI 1990 - 1993 Instructor Fiber Department, College for Creative Studies, Detroit, MI 1990 Instructor Red Deer College, Alberta, Canada 1989 - 1990 Registrar I Detroit Institute of Arts, Detroit, MI 1987 Associate Producer Lyric Theater, Highline Community College, -
Dada Bros Man Ray & Picabia
MAN RAY & PICABIA DADA BROS MAN RAY & PICABIA The Avant-Garde Masters at Vito Schnabel Gallery By Ines Valencia April 26, 2021 Man Ray, The Tortoise, 1944. Oil on canvas, 20 x 24 inches (50.8 x 61 cm) © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2021. Vito Schnabel Gallery, in New York, is hosting the historical different media types (including painting, photography, exhibition Man Ray & Picabia. This show brings together collage, and sculpture,) although he considered himself a two of the most legendary artists of the avant-garde and painter. In Paris, he joined the Dadaist group and became essential contributors to the Dada movement. It runs well known for his photography (his subjects included through May 15, 2021. some of the biggest names in the art world, including Pablo Picasso, Salvador Dalí, Peggy Guggenheim, Gertrude Stein, Man Ray & Picabia focuses on nine carefully selected and Jean Cocteau). However, he abandoned the medium for paintings produced between the late 1920s and mid-1950s painting in 1937. (some of which have not been on display to the public for decades.) Both artists did meet briefly in 1915 (Marcel Francis Picabia (1879-1953) was a French artist specializing Duchamp introduced them). Still, the dialogue presented in in painting, poetry, and typography. Like Man Ray, he was the exhibition is an imaginary one between the two, one one of the central figures in the Dada movement. Having that uses juxtaposition to bring their similarities to light. moved on from Impressionism, Pointillism, and Cubism, Both were prominent figures in the Dada and Surrealist Picabia identified with the provocative spirit of Dada and movements, and breaking rules played significant roles was active in both Paris and Zürich but renounced his ties in redefining what can be considered art and what it can to the movement in 1921, the same year Man Ray arrived in contain and do. -
Max Ernst Was a German-Born Surrealist Who Helped Shape the Emergence of Abstract Expressionism in America Post-World War II
QUICK VIEW: Synopsis Max Ernst was a German-born Surrealist who helped shape the emergence of Abstract Expressionism in America post-World War II. Armed with an academic understanding of Freud, Ernst often turned to his work-whether sculpture, painting, or collage-as a means of processing his experience in World War I and unpacking his feelings of dispossession in its wake. Key Ideas / Information • Ernst's work relied on spontaneity (juxtapositions of materials and imagery) and subjectivity (inspired by his personal experiences), two creative ideals that came to define Abstract Expressionism. • Although Ernst's works are predominantly figurative, his unique artistic techniques inject a measure of abstractness into the texture of his work. • The work of Max Ernst was very important in the nascent Abstract Expressionist movement in New York, particularly for Jackson Pollock. DETAILED VIEW: Childhood © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Max Ernst was born into a middle-class family of nine children on April 2, 1891 in Brühl, Germany, near Cologne. Ernst first learned painting from his father, a teacher with an avid interest in academic painting. Other than this introduction to amateur painting at home, Ernst never received any formal training in the arts and forged his own artistic techniques in a self-taught manner instead. After completing his studies in philosophy and psychology at the University of Bonn in 1914, Ernst spent four years in the German army, serving on both the Western and Eastern fronts. Early Training The horrors of World War I had a profound and lasting impact on both the subject matter and visual texture of the burgeoning artist, who mined his personal experiences to depict absurd and apocalyptic scenes. -
Women Surrealists: Sexuality, Fetish, Femininity and Female Surrealism
WOMEN SURREALISTS: SEXUALITY, FETISH, FEMININITY AND FEMALE SURREALISM BY SABINA DANIELA STENT A Thesis Submitted to THE UNIVERSITY OF BIRMINGHAM for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them. -
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............................................................................................................................................... -
University of Southern Queensland Behavioural Risk At
University of Southern Queensland Behavioural risk at outdoor music festivals Aldo Salvatore Raineri Doctoral Thesis Submitted in partial fulfilment of the requirements for the Degree of Doctor of Professional Studies at the University of Southern Queensland Volume I April 2015 Supervisor: Prof Glen Postle ii Certification of Dissertation I certify that the ideas, experimental work, results, analyses and conclusions reported in this dissertation are entirely my own effort, except where otherwise acknowledged. I also certify that the work is original and has not been previously submitted for any other award, except where otherwise acknowledged. …………………………………………………. ………………….. Signature of candidate Date Endorsement ………………………………………………….. …………………… Signature of Supervisor Date iii Acknowledgements “One’s destination is never a place, but a new way of seeing things.” Henry Miller (1891 – 1980) An outcome such as this dissertation is never the sole result of individual endeavour, but is rather accomplished through the cumulative influences of many experiences and colleagues, acquaintances and individuals who pass through our lives. While these are too numerous to list (or even remember for that matter) in this instance, I would nonetheless like to acknowledge and thank everyone who has traversed my life path over the years, for without them I would not be who I am today. There are, however, a number of people who deserve singling out for special mention. Firstly I would like to thank Dr Malcolm Cathcart. It was Malcolm who suggested I embark on doctoral study and introduced me to the Professional Studies Program at the University of Southern Queensland. It was also Malcolm’s encouragement that “sold” me on my ability to undertake doctoral work. -
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. -
Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Paylaşım 2018/1
2018/01 paylasımKartonsan Karton Sanayi ve Ticaret A.Ş. KARA SOKAK EDEBİYATIN SÜFRAJET SABRIN SİNEMANIN ÜNLÜ SANATI DEV MÜZİSYENİ DEDEKTİFLERİ AFİŞLERİ KAĞIT DANTEL Paylaşım Endemik ve nadir türleriyle Yaşam Kültürü Dergisi Kartonsan Karton Sanayi A.Ş. tarafından T.C. yasalarına uygun olarak yayınlanır ve ücretsizdir. Dergide yayımlanan yazı ve görseller izinsiz kullanılamaz. Anadolu'nun Çiçekleri Acılarını tuvale hapseden kadın Yayın Türü Yaygın Süreli Yayın İmtiyaz Sahibi Kartonsan A.Ş. adına Haluk İlber Frida Kahlo Sorumlu Yazı İşleri Müdürü Atiye Tuğtekin Yönetim Yeri KARTONSAN Karton Sanayi ve Ticaret A.Ş. Prof. Bülent Tarcan Caddesi Pak İş Merkezi No:5 Kat:3 Gayrettepe . İSTANBUL Tel: +90 (212) 273 20 00 Faks: +90 (212) 273 21 70 www.kartonsan.com.tr Baskı & Cilt Sabrın Sanatı ANKA Matbaacılık Sanayi ve Ticaret Ltd. Şti. Fevzi Çakmak Mahallesi, 2. Cd. 1119. Sk. No:3, 34220 Esenler . İstanbul Tel: +90 (0212) 565 9033 Faks: +90 (0212) 565 9034 Kağıt www.ankamatbaa.com.tr Danteller İngiltere'de kadına seçme hakkı Yayıncı verilmesinin SYNERGY Bilişim ve İletişim Hizmetleri Ltd. Şti. Parşömenin keşfedildiği 100. yılında Mall of İstanbul Ofiice No:136 topraklar Başakşehir İSTANBUL Tel: +90 (212) 347 40 00 Faks: +90 (212) 347 40 04 www.kurumsalyayin.com Sufrajet Bergama Afişleri Moda ve tarihsel gelişimin izini süren Sinema Müziklerinin Dahi Çocuğu Çanta Müzesi Dany Elfman Paylaşım Yaşam Kültürü Dergisi, %100 geri dönüşümlü kağıt kullanılarak hazırlanmıştır. Kapakta Kartonsan ürünlerinden Lutriplex 350 gr. kağıt kullanılmıştır. Holmes'tan Poirot'ya Paylasim Life Style Magazine is printed on 100% recycled paper. Cover pages printed on Lutriplex 350 gr. paper produced by Kartonsan. Edebiyatın Ünlü Dedektifleri doğa Endemik türler nadir bulunmaları nedeniyle ülke ekonomisi için önemli bir değer oluşturma- nın tüm olumsuzlukları ile karşı karşıya kalıyor- lar.