DOCSLIB.ORG

UNIVERSITY of CALIFORNIA, IRVINE Surrealism: a Marxist Enterprise in 1930S London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIVERSITY of CALIFORNIA, IRVINE Surrealism: a Marxist Enterprise in 1930S London UNIVERSITY OF CALIFORNIA, IRVINE Surrealism: a Marxist Enterprise in 1930s LonDon DISSERTATION submitteD in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Susan King Obarski Dissertation Committee: Professor James D. Herbert, Chair Professor Cécile Whiting Associate Professor Catherine L. Benamou 2014 © 2014 Susan King Obarski DEDICATION To my parents Joan anD Jim King, and my Daughter Katie Obarski, for their love and unconditional support. ii TABLE OF CONTENTS Page LIST OF FIGURES v ACKNOWLEDGMENTS xi CURRICULUM VITAE xii ABSTRACT OF THE DISSERTATION xiv INTRODUCTION 1 CHAPTER 1: Establishing the Revolutionary Aims of British Surrealism 11 Extending Unit One 15 Aligning with Breton and Local British Traditions 18 Part of a Growing British Left 21 The International Surrealist Exhibition 31 Postmortem anD Response to the Press 46 Standing with anD Against English Culture 48 Conclusions 56 CHAPTER 2: Eileen Agar anD the Compromises of Pursuing A Free Revolutionary Art 65 Surrealism ConceiveD Upmarket 72 Autobiography of an Embryo 76 Angel of Anarchy 93 Agar as ProDucer 97 Cultural Production as a Political Cause 106 Conclusions 113 CHAPTER 3: Speaking to the Masses with Surrealist Film 125 Contributions to the British Surrealist Group 136 Presenting the Social by Experimental Means 144 Evolving Labor and Technology in The Birth of the Robot 154 MoDern Workers in Spare Time 161 Conclusions 174 CHAPTER 4: Exhibiting Picasso’s Guernica: Melding Marxist ideology and Capitalist Enterprise to Oppose Fascism 185 Spain as a Defining Surrealist Issue 189 Unity and Conflict in the A.I.A. 195 The Guernica Exhibitions: A Culmination of the Surrealist-Realist Debate 200 iii The English Response to Guernica 220 Collecting and Selling Picasso in EnglanD 227 Conclusions 238 CHAPTER 5: Summary Conclusions 253 REFERENCES 257 APPENDIX 1: Chapter One Figures 264 APPENDIX 2: Chapter Two Figures 272 APPENDIX 3: Chapter Three Figures 290 APPENDIX 4: Chapter Four Figures 307 iv LIST OF FIGURES Page Figure 1.1 Cover Design for Herbert Read’s Surrealism 265 Figure 1.2 International Surrealist Bulletin No. 4 265 Figure 1.3 Exhibition Poster for International Surrealist Exhibition 266 Figure 1.4 Exhibition Catalogue for International Surrealist Exhibition 266 Figure 1.5 Henry Moore, Figure, 1933-34 266 Figure 1.6 International Surrealist Exhibition entrance 267 Figure 1.7 New Burlington Galleries with works by Moore and Nash 267 Figure 1.8 Special Double Number of Contemporary Poetry and Prose 268 Figure 1.9 David Gascoyne, Perseus and Andromeda, 1936 268 Figure 1.10 EdwarD Burne-Jones, The Doom Fulfilled, 1884-85. 269 Figure 1.11 Henry Moore, Reclining Figure, 1931 269 Figure 1.12 Henry Moore, Reclining Figure, 1931, installed 270 Figure 1.13 Eileen Agar, Quadriga, 1935 270 Figure 1.14 Eileen Agar, Quadriga, 1935, installed 270 Figure 1.15 Paul Nash, Harbour and Room, 1932-36 271 Figure 1.16 Paul Nash, Swanage, c. 1936 272 Figure 1.17 Paul Nash, driftwood Marsh Personnage, installed 272 Figure 2.1 Eileen Agar’s Angel of Anarchy and Herbert Read 273 Figure 2.2 Eileen Agar, The Autobiography of an Embryo, 1933-34 273 Figure 2.3 Julian Trevelyan, The Potteries, 1938 273 Figure 2.4 Agar Family Portrait, c. 1912 274 v Figure 2.5 Two Maasai people 275 Figure 2.6 Early state of The Autobiography of an Embryo 275 Figure 2.7 Detail with sperm-like form in The Autobiography of an Embryo 276 Figure 2.8 Robed figures in The Autobiography of an Embryo 276 Figure 2.9 Mesopotamian figure in The Autobiography of an Embryo 277 Figure 2.10 AlfreD Jarry, Illustration of Père Ubu, 1896 277 Figure 2.11 Ubu-like figure in The Autobiography of an Embryo 278 Figure 2.12 African figures in The Autobiography of an Embryo 278 Figure 2.13 Akorino elders 279 Figure 2.14 Eileen Agar, Family Trio, 1931, pen and ink on paper 279 Figure 2.15 Jomo Kenyatta 280 Figure 2.16 Kikuyu People 280 Figure 2.17 Archaeopteryx Display 281 Figure 2.18 Duck, Painted Pottery, Cyprus, c. 600-450 BCE 281 Figure 2.19 Gallery of Paleontology anD Comparative Anatomy, Jardin des Plantes 281 Figure 2.20 Eileen Agar wearing Ceremonial Hat for Eating Bouillabaisse with The Hand of Fate 282 Figure 2.21 Eileen Agar, The Battle Cry (Bullet-proof Painting), 1938 282 Figure 2.22 Eileen Agar, Left Review, c. 1936 283 Figure 2.23 Royal Air Force De HavillanD DH82 Tiger Moth Biplane 283 Figure 2.24 “TowarDs an INDEPENDENT Revolutionary Art” 284 Figure 2.25 Eileen Agar, Angel of Anarchy I, 1934-36. 284 Figure 2.26 Eileen Agar moDeling Ceremonial Hat for Eating Bouillabaisse 285 vi Figure 2.27 London Gallery Bulletin No. 1, April 1938 with dresses by Norine 285 Figure 2.28 Elsa Schiaparelli wearing a hat of her own creation 285 Figure 2.29 Sheila Legge as the Surrealist Phantom in Trafalgar Square 286 Figure 2.30 Eileen Agar, Glove Hat, c. 1936 286 Figure 2.31 Joseph Bard’s photograph of Eileen Agar near Mougins, France 286 Figure 2.32 SalvaDor Dali HolDing a mannequin 287 Figure 2.33 Salvador Dali's ink drawing over photo (by Horst P. Horst) 287 Figure 2.34 Eileen Agar, Rococo Cocotte, c. 1937 288 Figure 2.35 Eileen Agar, Ladybird, 1936 288 Figure 2.36 René Magritte in front of the Tentative de l’impossible (Attempt at the Impossible), 1928 289 Figure 2.37 Eileen Agar, Family Trio, 1931, watercolour on paper 289 Figure 2.38 Eileen Agar, The Wandering Minstrel, c. 1932 290 Figure 3.1 London Bulletin No. 3, June 1938 291 Figure 3.2 Len Lye in production on The Birth of the Robot, 1935 291 Figure 3.3 Humphrey Jennings in production on The Birth of the Robot, 1935 292 Figure 3.4 Special edition of London Bulletin Nos. 4-5, July 1938 292 Figure 3.5 Vacuum sugar apparatus and Max Ernst’s La Femme Chancellante 292 Figure 3.6 Lyubov Popov, stage set for the Meyerhold Theatre proDuction 293 Figure 3.7 1929 filmmaking workshop conducted by Sergei Eisenstein 293 Figure 3.8 Len Lye, Photogram, 1947 294 Figure 3.9 Eileen Agar, Untitled Collage Head, c.1930s 294 Figure 3.10 Len Lye, The King of Planets Meets the First Man, 1936 294 Figure 3.11 ‘Copulation fetish by impotent negro paranoiac’ 295 vii Figure 3.12 Humphrey Jennings, “The Iron Horse” 295 Figure 3.13 Hand cranked gears in the opening scene of The Birth of The Robot 296 Figure 3.14 Film still from Humphrey Jennings’ Locomotives 296 Figure 3.15 Detail of colonial tourist in The Birth of The Robot 296 Figure 3.16 Film still of sanDstorm in The Birth of The Robot 297 Figure 3.17 Film still of “Garage” mirage 297 Figure 3.18 Film still of oil drops bringing the skeleton to life as a robot 298 Figure 3.19 Film still of robot’s shadow over Europe 298 Figure 3.20 "Long Man of Wilmington" 299 Figure 3.21 Film still of robot’s shadow overpowering the industrializeD world 299 Figure 3.22 Film still of robot waving back to Venus 300 Figure 3.23 Man Ray, photograph in La Révolution surréaliste No. 7, c. 1926 300 Figure 3.24 Eileen Agar, The Object Lesson, 1940 301 Figure 3.25 Film still of worker housing anD inDustry in Spare Time 301 Figure 3.26 Bill Brandt, Coal Miners’ Houses, East Durham, 1937 301 Figure 3.27 Humphrey Jennings, The House in the Woods, 1939-44 302 Figure 3.28 Film still of workers in Spare Time 302 Figure 3.29 René Magritte, cover design, London Gallery Bulletin No. 1 303 Figure 3.30 Film still of Dancers in Spare Time 303 Figure 3.31 Film still of British auDience in Spare Time 303 Figure 3.32 Film still of men purchasing postal orDers in Spare Time 304 Figure 3.33 Film still from Spare Time evocative of Thanatos. 304 Figure 3.34 Fade in of dancehall bandstand in Spare Time 304 viii Figure 3.35 Film still of coal miners’ housing in Spare Time 305 Figure 3.36 Film still of carnival riDe in Spare Time 305 Figure 3.37 Film still of store clerk anD customer in Spare Time 305 Figure 3.38 Film stills from Len Lye, N or NW (North or NorthWest), 1937 306 Figure 3.39 Film still from Spare Time with surrealist-like headlines 306 Figure 3.40 Film still of Mancunian Morris Troupe band playing “Rule Britannia” 307 Figure 4.1 Pablo Picasso, Guernica, 1937 308 Figure 4.2 AD for humanitarian aiD in Contemporary Poetry and Prose 308 Figure 4.3 AD for arms for Spain in Contemporary Poetry and Prose 309 Figure 4.4 John McNair, In Spain Now!, 1936-1937 309 Figure 4.5 Surrealist hoarding in support of the Spanish Republicans, 1939 310 Figure 4.6 Hoarding in London's Bouverie Street, 7 February 1939 310 Figure 4.7 Program for the Spain & Culture Rally and Auction, 24 June 1937 311 Figure 4.8 Pablo Picasso, Weeping Woman, 16 June 1937 311 Figure 4.9 “Ambulance for Spain,” banner in Hammersmith 312 Figure 4.10 “Arms anD Justice for Spain,” banner in Hammersmith 312 Figure 4.11 A.I.A. display in the Paris Peace Pavilion, 1937 313 Figure 4.12 Surrealists in HyDe Park with Chamberlain masks, May 1938 313 Figure 4.13 Surrealists in London May Day procession 1938 314 Figure 4.14 “The A.I.A. Contingent” in London May Day procession 1938 314 Figure 4.15 Illustration from To-Morrow, Communist bulletin, December 1936.
Load more

Recommended publications
  • The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
    TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period.
    [Show full text]
  • Intangible Heritage(S): an Interplay of Design, Social and Cultural Critiques of the Built Environment
    TANGIBLE - INTANGIBLE HERITAGE(S): AN INTERPLAY OF DESIGN, SOCIAL AND CULTURAL CRITIQUES OF THE BUILT ENVIRONMENT • Paper / Proposal Title: ‘ARCHITECTS – WHERE IS YOUR VORTEX? VORTICISM, THE CITY AND URBAN EXPERIENCE • Author(s) Name: Dr. JONATHAN BLACK FRSA • University or Company Affiliation: KINGSTON SCHOOL OF ART, KINGSTON UNIVERSITY • Presentation Method. I would like to: i. present in person (with/without a written paper)* • Abstract (300 words): From its conception in the spring of 1914 the British avant garde art movement known as Vorticism was obsessed with the city and urban existence as central to the forward march of technologically innovative modernity. Indeed, the movement largely owed its very name to the American poet Ezra Pound having already identified London as the ‘great modern vortex’, the end point for all the energies of modern life and of British/Imperial power. My paper is rooted in many years of research into Vorticism and British Art before, during and after the First World War. It will focus on some of the many images that evoked the strikingly positive Vorticist vision of the city – one that as much looked to the example of vertically vertiginous New York as that by experimental thinkers on the European continent – by leading adherents of the movement such as: Wyndham Lewis, Edward Wadsworth, Frederick Etchells, Jessica Dismorr and Helen Saunders. Living in London much of their imagery was indebted to that city. However, examples will be discussed alongside a group of woodcut prints produced c. 1914-18 by Wadsworth inspired by the cities and industrial towns of his native Yorkshire such as Leeds, Bradford, Halifax and Huddersfield.
    [Show full text]
  • Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
    art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard.
    [Show full text]
  • Introduction
    Notes Introduction 1. For more on the Romanticism and Classicism debate in the maga- zines, see David Goldie’s Critical Difference: T. S. Eliot and John Middleton Murry in English Literary Criticism, 1918–1929 (69– 127). Harding’s discussion in his book on Eliot’s Criterion of the same debate is also worth reviewing, especially his chapter on Murry’s The Adelphi; see 25–43. 2. Esty suggests that the “relativization of England as one culture among many in the face of imperial contraction seems to have entailed a relativization of literature as one aspect of culture . [as] the late modernist generation absorbed the potential energy of a contracting British state and converted it into the language not of aesthetic decline but of cultural revival” (8). In a similar fashion, despite Jason Harding’s claim that Eliot’s periodical had a “self-appointed role as a guardian of European civilization,” his extensive study of the magazine, The “Criterion”: Cultural Politics and Periodical Networks in Inter-War Britain, as the title indicates, takes Criterion’s “networks” to exist exclusively within Britain (6). 3. See Suzanne W. Churchill, The Little Magazine Others and the Renovation of Modern American Poetry; Eric White, Transat- lantic Avant-Gardes: Little Magazines and Localist Modernism; Adam McKible, The Space and Place of Modernism: The Russian Revolution, Little Magazines, and New York; Mark Morrisson, The Public Face of Modernism: Little Magazines, Audience, and Reception, 1905–1920; Faith Binckes, Modernism, Magazines, and the Avant-Garde: Reading “Rhythm,” 1910–1914. 4. Thompson writes, “Making, because it is a study in an active process, which owes as much to agency as to conditioning.
    [Show full text]
  • 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...............................................................................................................................................
    [Show full text]
  • Ull History Centre: Papers of Alan Plater
    Hull History Centre: Papers of Alan Plater U DPR Papers of Alan Plater 1936-2012 Accession number: 1999/16, 2004/23, 2013/07, 2013/08, 2015/13 Biographical Background: Alan Frederick Plater was born in Jarrow in April 1935, the son of Herbert and Isabella Plater. He grew up in the Hull area, and was educated at Pickering Road Junior School and Kingston High School, Hull. He then studied architecture at King's College, Newcastle upon Tyne, becoming an Associate of the Royal Institute of British Architects in 1959 (since lapsed). He worked for a short time in the profession, before becoming a full-time writer in 1960. His subsequent career has been extremely wide-ranging and remarkably successful, both in terms of his own original work, and his adaptations of literary works. He has written extensively for radio, television, films and the theatre, and for the daily and weekly press, including The Guardian, Punch, Listener, and New Statesman. His writing credits exceed 250 in number, and include: - Theatre: 'A Smashing Day'; 'Close the Coalhouse Door'; 'Trinity Tales'; 'The Fosdyke Saga' - Film: 'The Virgin and the Gypsy'; 'It Shouldn't Happen to a Vet'; 'Priest of Love' - Television: 'Z Cars'; 'The Beiderbecke Affair'; 'Barchester Chronicles'; 'The Fortunes of War'; 'A Very British Coup'; and, 'Campion' - Radio: 'Ted's Cathedral'; 'Tolpuddle'; 'The Journal of Vasilije Bogdanovic' - Books: 'The Beiderbecke Trilogy'; 'Misterioso'; 'Doggin' Around' He received numerous awards, most notably the BAFTA Writer's Award in 1988. He was made an Honorary D.Litt. of the University of Hull in 1985, and was made a Fellow of the Royal Society of Literature in 1985.
    [Show full text]
  • Henry Varnum Poor: Commemorating 125 Years
    Henry Varnum Poor: Commemorating 125 Years by Ron Michael, Curator, Birger Sandzén Memorial Gallery Extended Essay - August 2012 Seeking Beauty Henry Varnum Poor is an important name not only for those interested in the history of Kansas or American art, but for Angular detail of Self Portrait, circa those who celebrate bountiful lives. Determined to follow his own 1917, lithograph, size unknown. path, he was committed to a life based on unadorned pursuits and a constant search for beauty. He once wrote to friend and fellow artist Birger Sandzén, “I want to make beautiful things so as to make our living as beautiful as possible.”1 Developing and using his multi-faceted talents, he also lived a life of great variety. At various times in his life he combined one or more professions as an artist, craftsman, builder, writer, teacher, organizer, administrator, evaluator and more. He was the perennial “jack-of-all-trades,” or perhaps more appropriately, a “renaissance man.” Just within the arts he explored a vast array of differing media – oils, watercolors, ceramics, pastels, drawings, frescos, etchings, lithography, woodworking, textiles, and illustration. He seemed to turn everything he touched into art. Perhaps nowhere is this better evident than the house he designed and constructed near New City, New York. Dubbed Crow House it was conceived as a place of comfort for his family – away from, but still accessible to, the bustling metropolis of New York and other Eastern cities. As he continued to write in his letter to Birger Sandzén, “The joy and satisfaction in making the house has been tremendous, and the future work of carving and painting our huge beams and stones will be great.
    [Show full text]
  • Quercus ×Coutinhoi Samp. Discovered in Australia Charlie Buttigieg
    XXX International Oaks The Journal of the International Oak Society …the hybrid oak that time forgot, oak-rod baskets, pros and cons of grafting… Issue No. 25/ 2014 / ISSN 1941-2061 1 International Oaks The Journal of the International Oak Society … the hybrid oak that time forgot, oak-rod baskets, pros and cons of grafting… Issue No. 25/ 2014 / ISSN 1941-2061 International Oak Society Officers and Board of Directors 2012-2015 Officers President Béatrice Chassé (France) Vice-President Charles Snyers d’Attenhoven (Belgium) Secretary Gert Fortgens (The Netherlands) Treasurer James E. Hitz (USA) Board of Directors Editorial Committee Membership Director Chairman Emily Griswold (USA) Béatrice Chassé Tour Director Members Shaun Haddock (France) Roderick Cameron International Oaks Allen Coombes Editor Béatrice Chassé Shaun Haddock Co-Editor Allen Coombes (Mexico) Eike Jablonski (Luxemburg) Oak News & Notes Ryan Russell Editor Ryan Russell (USA) Charles Snyers d’Attenhoven International Editor Roderick Cameron (Uruguay) Website Administrator Charles Snyers d’Attenhoven For contributions to International Oaks contact Béatrice Chassé [email protected] or [email protected] 0033553621353 Les Pouyouleix 24800 St.-Jory-de-Chalais France Author’s guidelines for submissions can be found at http://www.internationaloaksociety.org/content/author-guidelines-journal-ios © 2014 International Oak Society Text, figures, and photographs © of individual authors and photographers. Graphic design: Marie-Paule Thuaud / www.lecentrecreatifducoin.com Photos. Cover: Charles Snyers d’Attenhoven (Quercus macrocalyx Hickel & A. Camus); p. 6: Charles Snyers d’Attenhoven (Q. oxyodon Miq.); p. 7: Béatrice Chassé (Q. acerifolia (E.J. Palmer) Stoynoff & W. J. Hess); p. 9: Eike Jablonski (Q. ithaburensis subsp.
    [Show full text]
  • 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.
    [Show full text]
  • Documents (Pdf)
    Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada.
    [Show full text]
  • A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
    A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events.
    [Show full text]
  • Pallant House Gallery
    __ The Economic Contribution of Pallant House Gallery 16 June 2016 Contents 5. Economic Model ............................................................................... 20 5.1 Additionality Analysis .......................................................................... 21 1. Executive Summary ........................................................................... 3 5.2 Economic Multipliers ........................................................................... 23 1.1 Growing Organisation ........................................................................... 3 5.3 GVA and FTE Conversion .................................................................. 23 1.2 Dedicated Audience ............................................................................. 3 5.4 Economic Modelling Results ............................................................... 24 1.3 Overall Economic Impact ..................................................................... 3 5.4.1 Audience Analysis ............................................................................... 24 1.4 Expansion since 2008 .......................................................................... 4 5.4.2 Organisation Analysis ......................................................................... 25 2. Introduction ........................................................................................ 5 5.4.3 Overall Assessment ............................................................................ 25 2.1 Methodological Overview ....................................................................
    [Show full text]