[4 Octobre -> 21 Décembre 2013] Pierre Molinier [Bordeaux]

Total Page:16

File Type:pdf, Size:1020Kb

[4 Octobre -> 21 Décembre 2013] Pierre Molinier [Bordeaux] Semaine 40 Site Mélusine http://melusine.univ-paris3.fr/ Pierre Molinier Jean-Paul Brisset Surrealism and the Dream Dalí à Rotterdam 21st Century portuguese surrealism in Berlin Aragon à Saint-Denis Cahiers Benjamin Péret Les mercredis littéraires au Petit Palais Hans Richter Poétiques scientifiques dans les revues européennes de la modernité (1900-1940) Le surréalisme en Belgique (vidéo) Jacques Rivière, Introduction à une métaphysique du rêve Recherches croisées Aragon / Elsa Triolet n° 14 [4 octobre -> 21 décembre 2013] Pierre Molinier [Bordeaux] Pierre Molinier à l'honneur à Bordeaux cet automne Molinier, le Maître des Vertiges : un programme d'événements à la croisée de différentes disciplines artistiques et culturelles organisées autour de l'artiste Pierre Molinier (1900 - 1976) du 24 septembre au 21 décembre 2013. Du 4 octobre au 21 décembre : Exposition Fictions à l'oeuvre : l'art contemporain livré à l'expérience du récit FRAC Aquitaine • Lundi 7 octobre Dans le cadre du Fifib, étude de cas autour de la production du film Les Jambes de Saint-Pierre par Martine Vidalenc OARA / 14h http://art-flox.com/03074-Molinier,_le_Maitre_des_Vertiges.html 1 [8-9 octobre] Conference: Surrealism and the Dream Museo Thyssen-Bornemisza Paseo del Prado 8, 28014 Madrid, España Conference: Surrealism and the Dream http://www.museothyssen.org/en/thyssen/ficha_actividad/307 Communiqué par Henri Béhar et Marian Vega Du surréalisme à la Dali à Rotterdam • Outre la grande rétrospective Dali, le Musée Boijmans van Beuningen propose dans trois de ses salles une plongée dans le surréalisme, particulièrement de Dali. • Il faut avouer que le musée – dans ses très riches collections permanentes – possède plusieurs oeuvres du peintre espagnol. Une situation due à une ancienne conservatrice des collections, Renilde Hammacher qui, dans les années 60 et 70 a mené une politique d'achat d'oeuvres surréalistes. Elle a également organisé, en 1970, une grande exposition consacrée à Dali. Et l'artiste avait fait le déplacement à Rotterdam pour le vernissage ! • Plusieurs oeuvres de Dali avaient quitté, ces derniers mois, le musée hollandais, invités dans diverses expositions à travers l'Europe. Pour «fêter» leur retour, le musée Boijmans expose donc ses plus belles oeuvres surréalistes auxquelles viennent s'ajouter trois toiles de Dali du Musée national Reine Sofia de Madrid. • Aux côtés des oeuvres du peintre espagnol – dont un des fameux «Mae West lips sofa», on découvre aussi des toiles et objets de contemporains de Dali comme Man Ray, Yves Tanguy, Max Ernst, Chirico, Picabia… • M.F.G. • Jusqu'au 2 février au Musée Boijmans van Beuningen à Rotterdam, du mardi au dimanche de 11hà 17 h, fermé le lundi, le 25 décembre et le 1er janvier. http://www.lavenir.net/article/detail.aspx?articleid=DMF20130928_00366821 21st Century portuguese surrealism in Berlin [10 octobre -> 20 décembre 2013] The Fellini Art Gallery in center of Berlin , will host an Exhibition of 21st Century Portuguese Surrealism Berlin, Germany September 25th 2013 From October 10th to December 20th the Fellini Art Gallery will host Santiago Ribeiro´s initiative 21st Century Portuguese Surrealism in Berlin. The project will be exhibiting select works of 6 2 Portuguese surrealists artists in the center of Berlin, Germany. The opening is scheduled for 19:00 pm on October 10, 2013. Santiago Ribeiro is a surrealist painter from Coimbra, Portugal, known worldwide for the Surrealism Now project and for his surreal painting. The plastic artist was invited by the Fellini gallery, based in Berlin, to develop an initiative that culminated in the exhibition "21st Century Portuguese Surrealism", comprised of various artists such as Victor Lages, Paula Rosa, Isabel Meyrelles, Hélio Cunha and João Carvalho. Surrealism Now and 21st Century Portuguese Surrealism The first exhibition under the title of "International Surrealism Now" took place in Coimbra, in 2010, organized by the Bissaya Barreto Foundation, based in that city. Followed by other exhibitions in Portugal, namely in Conímbriga, Setúbal and Lisbon, but also in Paris and Madrid. At present, the exhibition comprises more than thirty countries and more than fifty artworks, including drawings, photography, new media and sculpture, created by internationally renowned artists. As a result of implementing the project Surrealism Now, emerged the 21st Century Portuguese Surrealism. After be held in Lisbon heads now to the Fellini Gallery, with the support of the Portuguese Embassy in Berlin. The Fellini Art Gallery Fellini Gallery was founded in 2008 in Shanghai, China, by a film producer and art lover, inspired by the works of the legendary Italian film director Federico Fellini. The gallery is an art salon where artists and art lovers can gather to exchange ideas and to progress. Its exceptional location and dynamic roster of artists quickly brought the gallery to the attention of the international art scene. Its rapid success in Shanghai led to the creation of a second gallery in the new art capital of Europe: Berlin. Fellini Gallery in Berlin is located in the heart of the city and maintains the spirit of the original Shanghai gallery. Exhibits a wide range of work in the fine arts of painting, photography and sculpture, but also performance and new media. It has strong connections to artists and collectors in Los Angeles and China, while seeking to discover new talents internationally. It specializes in art exhibitions and promotion, art consulting and interior design. Fellini Gallery holds events and collaborates with museums, chambers, libraries and other galleries. Its attendees are collectors, artists, art lovers, critics, and experts from various creative industries. Fellini's goal is to dream, inspire and create. Participating artists HÉLIO CUNHA - Lisbon, ISABEL MEYRELLES – Paris, JOÃO CARVALHO - Lisbon, PAULA ROSA - Lisbon, SANTIAGO RIBEIRO - Coimbra - Paris, VICTOR LAGES - Lisbon. ABOUT the ARTISTS: Hélio Cunha, from Lisbon, owner of a complete surrealist thought, both in painting and in writing. Being well-known in Portugal has lived among the most prominent Portuguese surrealists. Recently exhibited his work in Lisbon with Cruzeiro Seixas, the most recognized living surrealist from Portugal. Isabel Meyrelles was born in Matosinhos and lives in Paris since 1950, where she continued her studies at Université René Descartes - Paris V - Sorbonne, Ecole Nationale Superíeure des Beaux-Arts and also with master Zadkine at the Grande-Chaumière in Paris. 3 She was a member of the French Surrealist Movement and the Portuguese Surrealist Movement, living and working among artists such as André Breton, Anne Ethuin, António Pedro, O'Neill, Cesariny and Cruzeiro Seixas, and also with Eugénio de Andrade e Natália Correia, since poetry is also part of her life. Paula Rosa, from Lisbon, stands out by her fabulous digital art and she's fascinated for the visual arts, design, poetry and music. She graduated both in Pedagogical Media Design" and in "Equipment and Space Design" and has organized and participated in conferences, workshops and a variety of other projects in Portugal, Sweden and in the U.S.A. João Carvalho, lives near Lisbon and has created his surrealist painting in the company of other artists who create fantastic and imaginative artwork. He's a reference to take into account since he has standing out in many of the exhibitions in which he has participated. Victor Lages, from Lisbon, has collaborated with Santiago Ribeiro in some of the "International Surrealism Now" shows. He's the creator of the "Utopia" project and he's well-known by his vast and varied work, such as public art, murals, sculptures and sacred art in churches. His artworks frequently contain the human figure and portray life-related themes, Humanity through symbols and oniric fantasy. Santiago Ribeiro, the Portuguese artist, born in Condeixa-a-Nova and living in Coimbra, has shown his artworks with great regularity in Portugal and in other European countries, including Lisbon, Paris, Belgrade, Madrid, Barcelona, Granada, Moscow , Warsaw, Florence, Podgorica, Montenegro, Timisoara in Romania and Dallas in Texas. He is the driving force and the promoter of the international project "Surrealism Now", which started in 2010, organized by the Bissaya Barreto Foundation. Practical Information: The exhibition can be visited from Tuesdays to Saturdays: from 11am to 7pm daily from October 10th to December 20th, 2013. Closed on Mondays and Sundays. Local: FELLINI Gallery Mittenwalder Strasse 6 10961 Berlin Germany +49-30-65005224 | [email protected] http://www.fellinigallery.com Communiqué par Santiago Ribeiro Aragon à Saint-Denis [7 octobre au 30 novembre] Brochure à télécharger sur : http://www.calameo.com/books/00034352461f91ccc99d5 Communiqué par Belén Roncoroni et Eric Vauban 4 [2 octobre] Cycle « les mercredis littéraires au Petit Palais » "Entendez-voir" avec Jacques Jouet La Maison des écrivains est heureuse de lancer sa programmation 2013-2014 avec une nouvelle séance d' « Entendez-voir », cycle mené en partenariat avec l'Ina qui convie chaque mois un écrivain à revisiter des moments littéraires de la télévision. Invité d'octobre, Jacques Jouet a choisi d'explorer des archives consacrées à Louis Aragon. Membre de l'OuLiPo depuis 1983, il est à la fois poète, romancier, nouvelliste, auteur de théâtre, essayiste, artiste plasticien et participe aussi aux «Papous dans la tête» sur France Culture. Son roman-feuilleton La république de Mek Ouyes a été diffusé simultanément sur cette radio et sur le web, sur le site de son éditeur P.O.L puis suivi de Mek-Ouyes amoureux (2006) et Agatha de Mek-Ouyes (2011). Parmi ses derniers livres figurent encore L'Histoire poèmes (2010), La seule fois de l'amour (2012) et Un dernier mensonge (2013). La rencontre sera animée par Sophie Joubert. Conférence le mercredi 02/10 de 13h à 14h30 Entrée libre dans la limite des places disponibles (Auditorium du Petit Palais) Communiqué par Eric Vauban Cahiers Benjamin Péret [11-13 octobre - Espace des Blancs Manteaux] Les cahiers Benjamin Péret seront présents au salon de la revue le 11, 12 et 13 octobre 2013.
Recommended publications
  • 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.
    [Show full text]
  • The Democratic Languages of Exile: Reading Eugene Jolas And
    THE DEMOCRATIC LANGUAGES OF EXILE: READING EUGENE JOLAS AND YVAN GOLL’S AMERICAN POETRY WITH JACQUES DERRIDA AND HANNAH ARENDT DELPHINE GRASS In most European nations, two visions of language are superimposed: whereas a national language is a construct which is thought to maintain social and cultural cohesion, democracies are made of individual speech acts and interventions while not being limited to a single language. The aim of this article is to argue that in order to have a healthy public sphere, democracies need to challenge the monolingual paradigm maintained by nationalisms. Firstly, this paper will explore the conflicted role of language within democratic nation states by exploring the place given to the concept of mother tongue in defining citizenship after the Second World War. To do so, I will analyse the works of two philosophers, Hannah Arendt and Jacques Derrida, who have defended the rights of refugees and migrants to participate in democratic life while maintaining opposite positions on the politically emancipatory potential of the mother tongue within the public sphere. Secondly, I will problematize both Arendt and Derrida’s positions by examining the works of two poets from the Alsace-Lorraine borderland, Yvan Goll and Eugene Jolas, who were both marginal in what Yasemin Yildiz defines as the ‘monolingual paradigm’ since both grew up in a borderland area between Germany and France where multilingualism, rather than monolingualism, was the unofficial linguistic norm.1 Written in English, the adopted language of their exile, the poems chosen for analysis explore the possibility of salvaging a new democratic consciousness from the statelessness of their multilingual condition, which they saw reflected in the multilingual crowds of immigrants in New York.
    [Show full text]
  • The Thing Poetry of Marianne Moore and Francis Ponge »
    « Reflecting the Other: The Thing Poetry of Marianne Moore and Francis Ponge » by Vanessa Jane Robinson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Vanessa Jane Robinson 2012 « Reflecting the Other: The Thing Poetry of Marianne Moore and Francis Ponge » Vanessa Jane Robinson Doctor of Philosophy Centre for Comparative Literature University of Toronto 2012 Abstract Across continents and independently of one another, Marianne Moore (1887-1972) and Francis Ponge (1899-1988) both made names for themselves in the twentieth century as poets who gave voice to things. Their entire oeuvres are dominated by poems that attempt to reconstruct an external thing (inanimate object, plant or animal being) through language, while emphasizing the necessary distance that exists between the writing self and the written other. Furthermore, their thing poetry establishes an “essential otherness” to the subject of representation that (ideally) rejects an objectification of that subject, thereby rendering the “thing” a subject-thing with its own being-for-itself. This dissertation argues that the thing poetry of Marianne Moore and Francis Ponge successfully challenged the hierarchy between subject and object in representation by bringing the poet’s self into a dialogue with the encountered thing. The relationship between the writing self and the written other is akin to what Maurice Merleau-Ponty refers to in Le visible et l’invisible when he describes the act of perceiving what is visible as necessitating one’s own visibility to another. The other becomes a mirror of oneself and vice versa, Merleau-Ponty explains, to the extent that together they compose a single image.
    [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]
  • Copyright by Deborah Helen Garfinkle 2003
    Copyright by Deborah Helen Garfinkle 2003 The Dissertation Committee for Deborah Helen Garfinkle Certifies that this is the approved version of the following dissertation: Bridging East and West: Czech Surrealism’s Interwar Experiment Committee: _____________________________________ Hana Pichova, Supervisor _____________________________________ Seth Wolitz _____________________________________ Keith Livers _____________________________________ Christopher Long _____________________________________ Richard Shiff _____________________________________ Maria Banerjee Bridging East and West: Czech Surrealism’s Interwar Experiment by Deborah Helen Garfinkle, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2003 For my parents whose dialectical union made this work possible ACKNOWLEDGEMENTS I would like to express heartfelt thanks to my advisor Hana Pichova from the University of Texas at Austin for her invaluable advice and support during the course of my writing process. I am also indebted to Jiří Brabec from Charles University in Prague whose vast knowledge of Czech Surrealism and extensive personal library provided me with the framework for this study and the materials to accomplish the task. I would also like to thank my generous benefactors: The Texas Chair in Czech Studies at the University of Texas at Austin, The Graduate School of the University of Texas at Austin, The Fulbright Commission and the American Council of Learned Societies without whom I would not have had the financial wherewithal to see this project to its conclusion. And, finally, I am indebted most of all to Maria Němcová Banerjee of Smith College whose intelligence, insight, generosity as a reader and unflagging faith in my ability made my effort much more than an exercise in scholarship; Maria, working with you was a true joy.
    [Show full text]
  • Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)
    Jennifer Wild, “‘Are You Afraid of the Cinema?’” AmeriQuests (2015) ‘Are you Afraid of the Cinema?’: Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930) In December 1928, the prolific “editor of the Surrealists,” La Librairie José Corti, launched the deluxe, illustrated journal Du Cinéma: Revue de Critique et de Recherches Cinématographiques.1 Its first issue, indeed its very first page, opened with a questionnaire that asked, “Are you afraid of the cinema?” (Fig. 1, 2) The following paragraphs describing the questionnaire’s logic and critical aims were not penned by the journal’s founding editor in chief, Jean- George Auriol (son of George Auriol, the illustrator, typographer, and managing editor of the fin-de-siècle journal Le Chat Noir); rather, they were composed by André Delons, poet, critic, and member of the Parisian avant-garde group Le Grand Jeu. “This simple question is, by design, of a frankness and a weight made to unsettle you. I warn you that it has a double sense and that the only thing that occupies us is to know which you will choose,” he wrote.2 1. Cover, Du Cinéma, No. 1. Pictured: a still from Etudes Sur Paris (André Sauvage, 1928) 2. Questionnaire, “Are You Afraid of the Cinema?” Du Cinéma, No. 1. 1 Unless otherwise noted, all translations are my own. 2 André Delons, “Avez-Vous Peur du Cinéma?” Du Cinéma: Revue de Critique et de Recherches Cinématographiques, 1st Series, no.1, (December 1928), reprint edition, ed. Odette et Alain Virmaux (Paris: Pierre Lherminier Editeur, 1979), 3.
    [Show full text]
  • Es Probable, De Hecho, Que La Invencible Tristeza En La Que Se
    Surrealismo y saberes mágicos en la obra de Remedios Varo María José González Madrid Aquesta tesi doctoral està subjecta a la llicència Reconeixement- NoComercial – CompartirIgual 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento - NoComercial – CompartirIgual 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0. Spain License. 2 María José González Madrid SURREALISMO Y SABERES MÁGICOS EN LA OBRA DE REMEDIOS VARO Tesis doctoral Universitat de Barcelona Departament d’Història de l’Art Programa de doctorado Història de l’Art (Història i Teoria de les Arts) Septiembre 2013 Codirección: Dr. Martí Peran Rafart y Dra. Rosa Rius Gatell Tutoría: Dr. José Enrique Monterde Lozoya 3 4 A María, mi madre A Teodoro, mi padre 5 6 Solo se goza consciente y puramente de aquello que se ha obtenido por los caminos transversales de la magia. Giorgio Agamben, «Magia y felicidad» Solo la contemplación, mirar una imagen y participar de su hechizo, de lo revelado por su magia invisible, me ha sido suficiente. María Zambrano, Algunos lugares de la pintura 7 8 ÍNDICE INTRODUCCIÓN 13 A. LUGARES DEL SURREALISMO Y «LO MÁGICO» 27 PRELUDIO. Arte moderno, ocultismo, espiritismo 27 I. PARÍS. La «ocultación del surrealismo»: surrealismo, magia 37 y ocultismo El surrealismo y la fascinación por lo oculto: una relación polémica 37 Remedios Varo entre los surrealistas 50 «El giro ocultista sobre todo»: Prácticas surrealistas, magia, 59 videncia y ocultismo 1. «El mundo del sueño y el mundo real no hacen más que 60 uno» 2.
    [Show full text]
  • Érika Pinto De Azevedo
    ÉRIKA PINTO DE AZEVEDO UNE ÉTUDE ET UNE TRADUCTION DE L’HOMME AU COMPLET GRIS CLAIR , NOUVELLE DE MARCEL LECOMTE, ÉCRIVAIN SURRÉALISTE BELGE FRANCOPHONE PORTO ALEGRE ABRIL 2007 1 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ÁREA DE ESTUDOS DE LITERATURA ÊNFASE: LEM - LITERATURAS FRANCESA E FRANCÓFONAS Linha de Pesquisa: Teorias Literárias e Interdisciplinaridade UNE ÉTUDE ET UNE TRADUCTION DE L’HOMME AU COMPLET GRIS CLAIR , NOUVELLE DE MARCEL LECOMTE, ÉCRIVAIN SURRÉALISTE BELGE FRANCOPHONE Érika Pinto de Azevedo Dissertação apresentada ao Programa de Pós-Graduação em Letras da UFRGS como requisito parcial para obtenção do grau de Mestre em Letras, área de Estudos de Literatura, ênfase de LEM - Literaturas Francesa e Francófonas Orientador: Prof. Dr. Robert Ponge Porto Alegre, UFRGS 2007 2 TABLE DES MATIÈRES INTRODUCTION CHAPITRE 1 NAISSANCE ET DÉVELOPPEMENT DU SURRÉALISME AUTOUR D’ANDRÉ BRETON JUSQU’EN 1931 ANDRÉ BRETON DE 1896 À 1913 10 LA « DÉCOUVERTE DE LA RÉSISTANCE ABSOLUE » (1913-1918) 11 DE LA FONDATION DE LITTÉRATURE AU LANCEMENT DU 13 SURRÉALISME (1919-1924) DU MANIFESTE (1924) AU SECOND MANIFESTE DU SURRÉALISME (1929- 21 1930) ET UN PEU APRÈS CHAPITRE 2 QUELQUES ÉLÉMENTS D’HISTOIRE DU DADAÏSME ET DU SURRÉALISME EN BELGIQUE JUSQU’EN 1931 CLÉMENT PANSAËRS ET LE DADAÏSME 28 QUELQUES REVUES NOVATRICES OU MODERNISTES 30 RENCONTRES INITIALES DES FUTURS SURRÉALISTES (1919-1924) 31 CORRESPONDANCE , ŒSOPHAGE ET MARIE (1924-1926) 32 FORMATION ET PREMIÈRES ACTIVITÉS DU GROUPE SURRÉALISTE
    [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]
  • Bernard Fleetwood-Walker (1893-1965) By
    The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 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 As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.
    [Show full text]
  • 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 ......................
    [Show full text]
  • Cat151 Working.Qxd
    Catalogue 151 election from Ars Libri’s stock of rare books 2 L’ÂGE DU CINÉMA. Directeur: Adonis Kyrou. Rédacteur en chef: Robert Benayoun. No. 4-5, août-novembre 1951. Numéro spé cial [Cinéma surréaliste]. 63, (1)pp. Prof. illus. Oblong sm. 4to. Dec. wraps. Acetate cover. One of 50 hors commerce copies, desig nated in pen with roman numerals, from the édition de luxe of 150 in all, containing, loosely inserted, an original lithograph by Wifredo Lam, signed in pen in the margin, and 5 original strips of film (“filmomanies symptomatiques”); the issue is signed in colored inks by all 17 contributors—including Toyen, Heisler, Man Ray, Péret, Breton, and others—on the first blank leaf. Opening with a classic Surrealist list of films to be seen and films to be shunned (“Voyez,” “Voyez pas”), the issue includes articles by Adonis Kyrou (on “L’âge d’or”), J.-B. Brunius, Toyen (“Confluence”), Péret (“L’escalier aux cent marches”; “La semaine dernière,” présenté par Jindrich Heisler), Gérard Legrand, Georges Goldfayn, Man Ray (“Cinémage”), André Breton (“Comme dans un bois”), “le Groupe Surréaliste Roumain,” Nora Mitrani, Jean Schuster, Jean Ferry, and others. Apart from cinema stills, the illustrations includes work by Adrien Dax, Heisler, Man Ray, Toyen, and Clovis Trouille. The cover of the issue, printed on silver foil stock, is an arresting image from Heisler’s recent film, based on Jarry, “Le surmâle.” Covers a little rubbed. Paris, 1951. 3 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35 illustrations and ornaments by Arp (2 full-page), integrated with the text.
    [Show full text]