DOCSLIB.ORG

Women Artists of The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Women Artists of The WOMEN ARTISTS OF THE SURREALIST MOVEMENT LWNACARRINGTOl>I S.lf-tlorlT.ir. c. IQ~7 NOVEMBER 18, 1986 · JANUARY 10, 1987 THE FINE ARTS CENTER ART GALLERY STATE UNIVERSITY OF NEW YORK AT STONY BROOK ACKNOWLEDGEMENTS 1-nt to tk.nk the e.. l'UCh College Gal~ ..nc:l The All .f ti.. "-rlirl< in ti.. pro<ent exhibit _,.. incf...J.J in mojo... lnrotute f"" R....... -rch in I-I i~ for o"!!"ni>ing c>nd in~fono l S.,,.,....f;rl exhibiti<x>t oF ti,. IQ30t .,,,J IQ40r. In Jewloping thi< exliibttion. I c>l<o ..;.I, to •>qrre<< my 9""ti­ ti.. porl tl,;.-i:~ ~,... l.o..w,., the "'°~ oF - S.,,.,....liru h.,, wde to gue.t c~tor 'Whitney OaJ...ick fo,. he,. ,..,..f~ b..n J.o..., in ti.. UniW St..te<. lJ,. .,;m of~;, exhibit it infonnc>tiw cc>t..logue em>y. Specic>I tk.nk< ..,.. c>lro Jue to inmJuce " no.. ge.,.,...t;on to ti.. ~ .f ~ oxm.o..Jino~ to K .. the,.;ne C.-um, Di..ecto,. of the B:m,ch College GIM:irlf. Galle.-y, fo,. moking lhi< exhibition c>voil.. ble to the W/e .,,.. S""teful to lJ,. l..titw For R• ...,,...,~ in Stony Brook community c>nJ f"" he-r continu<>I <upporl I-Ii~ .,,,J to guorl curc>to>', \Wl,;tne~ CJ,..J.;ck. J=o,. ti,.;,. c>nd <><<i<l<>nce tl..-oughout thi< project. potient ....i.t..nco ""' ~nk i;..1~ J.-of. D,.,,. z.,b.,.,.k; In ..JJition, I -nt to•"!"'"« my <>ppl'OCic>tion to .,,,J [).. p.,ul LeCl...c ond hi, .t..ff, etpecioll~ Kotl.enno Pete P<>nt..leo fo.,. in.t..lk.tion <>«i<l<>nce; J<>y Stnvey, Cu.-i:;., 1--1.. ttie $u..g..lo .,nJ A.toino Goupil. CJ,..rfotte Acting Technicc>I D"l'ector, Pne Art< Conte,., fo.,. Mo~ oF the J-Ff,..~ l--lolf.IJ GoO~. .,cteJ "' o ..,fuoblo exhibition lighting; Joyce Chen, K<>,.1 D'Amico, conruft..nt to the exhibit.ion, "' JiJ Mo~-A>ne Mortin o.J Qpl,.li .. Lopez, Solen<> ,.;ght, A-rt <;..lle.-y A<i<­ 'W St.pl.en M;ll.,.. l=;nolf'lo ... - tpt<iol thonkt to ti,. fencl.,.., ..l.o t..nt<; L<>u...... G,e'lfonJ, Su<on Motl.iren, Annemc>,.;e ~"" prowl.J expert;,. ond en~u<iorm "' ...If "' ~' oF ....t. McNom""", Al.Jo S..,.......o-l=eficiono, Galle.-y In­ tern<; ond Mo.-y BolJuf, <;..lle.-y Sec,...,t...-y, fo,. the;,. Kothe,.;ne B. C"l'Um help ..;tJ, the exhibition. '.Director, Eanclt &liege &;allery 81y U.Uversity of t!ew York (),.gonizeJ by The lnrotute for R... ""'h in 1--li.to.-y onJ 1""9mie,..J c>t BOl'UCh College Galle.-y, 1:35 f;..t '22nJ St-root, NYC 10010 (212) sos-2192, Octobe.. 3 - Novembe.. 7, IQ86. ~rl fo,. the 0"9<1nizotion of tl,i< exhibition -• proviJ.J by the New Yo~ St..te Council on the A-rt<, the Notionc>I bJowment fo,. the A-rt< c>nd (;,...n­ wooJ/Gunn Ronche.. I n 1929 a 'P""9 ~ f...... Pou,IJ.oopr;., N-Yori.. i.-J..J on ti.. Joo.. .. t ti.. P.,,.;, rluk of ~ R,.y ..J S U RREAL I ST MOVEMENT .......,.._1 ti.at .!.. W """'" to 1..1.;, rlucl.nt. L• MJl..--J ti.. ~ pa;nt..- -J ~~ v..i...t;.,. 1-1"90. """' met ti.. S.,...-ku ,.,..,..J 1928. ....... ti.. •«'9 rr-J of .... ~Vona! 9"""P of 'P""9 - ..tt-uJ to ..l.,t WO< tl..n ti.. morl -bl I~ -J m.& -·-·t in !;,.ope. Aki-ah-I-. .......i n..l a<tM ....ob. .. of S.,...-l;rl ~to tl..l""'f"'tJ..q. ti.. c~ oJ.~t;,,n foe- on ti..,. ..ho J;«.,_.J S,,.......l;,m p.io• to WoriJ W- JI -J ..ho cont.ibut.J wori. to ti.. ;nto-tK>nal S.,....al;rl exh;b;tion< of ti.. 19~0r an.I 1940r, Q I- ~ km~ B,.;Jg-1.o•• Leono~ Comngton. Ith.II Cokiuhoun. L~ !=;,.,;, Val.nt;ne l-lugo. j:,.;J., l(ahlo. Jac­ quel;ne L.....bo. L.. M;ll.,., M....t ()pp..J..im, Ala Rahon (P...,1.n), Val.ntine P., .. - . l("'f $.go, [)c.ootl- Tann;,,g, T"'I"". -J R~ v-. Committ...l to notl.;ng lo.. ti.an ti.. ~ ..-I.""" of ~...I- -J tJ.. o.Wot.og.cot-of QMOO_,. -J unc.on<­ ciour mental l"'""f, s.,......J;,m po-o...J ~ f;b.,,.i;o,, to poets ..J paint..-< of botlo <e-. ()..,,... µ.J tJ.. ~ w.ajnatio<>. S.. b.como a mo.I. of ..-tMt~ ..J lo... a '"""" of ~"9 tJ.. J....lity of tJ.. ,._,"bot- poetic emotion -J ~t;c pleof\n'O tJ.. J;ff.,.-. ;, only one of J.e-.'' ..-rote poet ,..,J 5.,,.....,l;rl l..J.,. AnJ,.. BNton ;n 19~2. No a~;rl;c "'°""'"'"t ,;nee Romanticirm b cel.b...to.J ti.. iJ... of 'OOm"n <>< pa«;on­ at.oly .,, J;J S.,.....,1;,m J.,..;ng ti.. 1 9~0r an.I 1940r, ""J no early t-nt;oth-c.nhn-y """"""'"t on;o.,..l ti.. pa~cipalio<> of <>< '°"9• -J adM a 9""'1' of _...... Yet ti.. rol. of ti.. '"°~ ~ in ti.. S.,....,.l;rl ...-t -• " conopl~toJ one. y °"'9 - of ti.. 19».....J ti..;. ~l..!Ne f· J, r 1 to P""'V' ~ m,;n;,,g -J ;, 1; I Jool "- OS muclo to ti.. """"°"' J.c.J.', J..-.1 r.,. rociol -J ......1 ........ ocipation ~ -- ... tl..y J;J to ti.. S,,.......1.n -......olvtion." ln.l..J. ti.. popvl.... Unoge of ti.. •~ - · .a< ti.at of a ~­ ....tonomou< be;ng """ w 1-f;toJ f...... ti.. tocial J....g.. ;n<t;atoJ b.i ti..-« .vff,...g.-an.l ti.. Fn-tt Wori.1 w- in 1929 B~ton J.f;n.J "tJ.. morl ma,....llou< an.I J;rl~ng ~l.m ;n all the ...,,,IJ a< ti.al of woman," he h;m..lf hav;ng NjoctoJ ti.. ;m"98 of tho "~woman" a• too wo~ly. too tougk too d0<0ly a«OC"'to.J .,;th tJ.. l;w.,~ e<tabl;.hment ogoinrl ..hicl. S.,....,.l;rm wa< in ,..,..It. 1 1-f, ....,lac.J it ..;th on ;.._ of mog;""J. .tJ..-1. -J J,;IJ!il,o womanha.J J.,.;....J f...,.,, rveh J;....... ro<n'O«"" Romont<: -J s,.,bol;.t lit..-at....o. r., J;"" ~an.I~ ~Im.. Mal. S..-~rt.-.U .......... hauntoJ b.i on imago of - -J~ ,tl,.,..,I an.I yet ~of ~;,;,,g ~',-.CJ..,_, ~ling l.;m o.to a -bl ~y ti.at ccJJ l.b....t. l.m f....,. ti.. bonJ. of,......... -J log;c. Women ....t;rlf <>«OciatoJ ...th ti.. ___.t m-uggl.J .,;th tJ.. often ""'""'1"'41. rol.. of mu<e on.I ....t;,t_ They con­ frontoJ tJ.. Jiff;cult~ of t.-f.,...,;ng ti.. imago of woman from objoet to rub;ect th"""9h ....t;ttic conwnfon< e<tabl;,h.J oc~;ng DOROT'"GA TANNING 'R... J. '""" IQ44 to male ~;tion<, an.I tho f,.u<t...,tion of -oncil;ng ti..;. o'"' rociol orJ ,.,.,.,1 .....,nc;pofon ..rJ ti.. J..,,.,,J, of mow,.. cNot;v. eloboTOt.. oxtuming, MJ exotic je...el"l - eoexid ,,;t~ o """°"" ity .,.;th ti.. c,.;pp1;"9 ;""'99 of tl.e ,..,..,._..,.f... 1 o• womon-<h;IJ. p.ivoto. often l...m.tic ;J..,t;~cot;.,., of tho f'-1. boJ~ ...;th · s.... 1.on·.,;,;.., of u.. ·t--1 ..Jo...J" _...,;, _..·t .....c1. h.lp ~ J......, f.om not.,,... fo,. ti.. __, P"'nte., CJq.J,.,..,., lot.. commenteJ.? Qt!­ Relmco on tl..motoc orJ iconog~;c moto.-.ol J..,_ "'"''°" .,..,.. eqvoll4 ombivolent obovt the bve ploce of..._.., ;n ti.. f.om noture become onothe,. wo ~ of Mf.....bng "WOmen'f c.loim lo S,,.......lort vn'-<e. Pn; ,..fur.J lo join ti.. ,.,.,....,,...,t off;c;.,I~ <>rp0<u of .,.,._,.. thot ~ b.l;...J loy ..,t,;J. .otionol onJ -I .J..n.t lo 8....t.on'r ~ ..lt!-gh J.. .,J,;b;t.J ...th ti.. m<>reJ.,. conbool. No-ho,.. on S,,.......l,.m or not.,,.. mo..._.,-. 9"""P Jun..g ti.. 10!>0. .,,J 1040.: K..hlo oft.n ,.,;J thot fully ,....l;,.J <>< o motoph.,• fo,. p<lj<h;c ...,l;ty thon ;n ti.. po;nti"(l< e.. 1on """ h;, ci.-cl. "thought J ...... " $....... 1 ;.t, bvt I wom't."~ of K..tJo. ~ orJ T..,.n. Tho po.-cl..J orJ c...ck.J ,.,.ti, R~ f.om ti.. fo..mulot;.,., of s.,.......t.n tl..o"l­ ..........n4 ,.fl.ctr K..IJo« ~la'!- ti.. cool. rlot.J k· nnf.,... 4 -' ~ -I mot'O ;ne,.,...-.J ti.on ti.... mole"""-""'· orJ ~ .,,J,.toctonK =ffok/;"9' of ~'r .ori. c""te" ~ Cll"tirlf ~lfi, mc:J• vniqvt <MJ vitol cont....ibut:.00-r to '9nfe of ploce ot once J..olote orJ ch..~ ...;1h un<pecif;.J poet;c ti:. -t. Rejecting ti.. i-ao of ...-on"" Qt!-. onJ ...;th .._,,"9· ..1,;1. th. 1,.,._ .,rJ J.fol;.,t.J 1...,Jbp.. of T°"°"" it ti.. I.. 9 •JO of ~ viol.nc. -' hofluc.nolonj JU~ ~of ti.. !..to 10!>0<-I~ IQ40tt...t.f.,1otl......l.u.non~ J......oc-..;rt<c of ti.. .ori. of mole S,,.......l;rtr, mony t~ lo of o _.,,IJ o! "'""· b-en M,11_., the -mon ,.l,o.
Load more

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]
  • 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.
    [Show full text]
  • Gaceta De Arte Y Su Época, 1932-1936
    Gaceta de arte y su época, 1932-1936 DATOS DEL LIBRO Título: Gaceta de arte y su época, 1932- 1936 Artistas: José Blasco Robles, José Enrique Marrero Regalado, Miguel Martín Fernández de la Torre, Richard E. von Oppel, Domingo Pisaca y Burgada, Alberto Sartoris, rudolf Schneider, Jean Arp, Willi Baumeister, Adalberto Benítez, Francisco Bonnín, Norah Borges, Víctor Brauner, Georges Brisson, José Caballero, Luis Castellanos, Paul Citroën, Giorgio de Chirico, Juan Manuel Díaz Caneja, Salvador Dalí, César Domela, Óscar Domínguez, Carl Drerup, Marcel Duchamp, El Lissitzky, Max Ernst, Álvaro Fariña, Luis Fernández, Ángel Ferrant, Antonio García Lamolla, Antonio García Lamolla, Alberto giacometti, Julio González, George Grosz, Jean Hélion, Valentine Hugo, Juan Ismael, Marcel Jean, Jan Kamman, Vassily Kandinsky, Paul Klee, Gustav Gustavovich Klucis, S. Kozlowsky, Pancho Lasso, Maruja Mallo, Man Ray, Néstor Martín Fernández de la Torre, Joan Massanet, Joan Miró, Lázslo Moholy-Nagy, Felo Monzón, José Moreno Villa, Ben Nicholson, Policarpo Niebla, Alfonso de Olivares, Jorge Oramas, Luis Ortiz Rosales, Benjamín Palencia, Timoteo Pérez Rubio, Pablo Picasso, Servando del Pilar, Alfonso Ponce de León, Antonio rodríguez Luna, Alberto Sánchez, Paul Shuitema, Santiago Santana, Yves Tanguy, Hans Tombrock, Joaquín Torres-García, Friedrich Vordemberge-Gildewart Autores: Emmanuel Guigon, María Isabel Navarro Segura, Enrigue Granell, Jorge Aguilar Gil, Nilo Palenzuela, Susanne Klengel, Horacio Fernández, Fernando Castro, Isabel Castells, José Miguel Pérez Corrales
    [Show full text]
  • Univerzitet Umetnosti U Begoradu Ţensko Telo U
    Univerzitet umetnosti u Begoradu Interdisciplinarne studije Teorija umetnosti i medija Doktorska disertacija Ţensko telo u nadrealističkoj fotografiji i filmu Autor: Lidija Cvetić F6/10 Mentor: dr.Milanka Todić, redovni profesor Beograd, decembar 2015. 1 Sadržaj: Apstrakt / Abstract/ 7 1. Uvod : O nadrealističke poetike ka teoriji tela/ 6 2. Žensko telo i poetika nadrealizma/ 16 2.1.Estetika znatiželje/ 16 2.1.1. Ikonografija znatiţelje/ 20 2.1.2. Topografija ţenske zavodljivosti/ 22 2.1.3. Znatiţeljni pogled/ 26 2.1.4. Dekonstrukcija pogleda/ 32 2.2.Mit i metamorfoze/ 38 2.2.1. Prostori magijskog u prostoru modernosti/ 38 2.2.2. Breton – Meluzine/ 41 2.2.3. Bataj – Lavirint/ 56 2.2.4. Nadrealisički koncept Informé/ 60 3. Fetišizacija i dekonstrukcija ženskog tela u praksama narealizma/ 69 3.1. Fetišizacija tela/ 69 3.1.1. Poreklo fetiša/ 70 3.1.2. Zamagljeni identitet/ 74 3.1.3. Ţensko telo – zabranjeno telo/ 78 3.2.Dekonstrukcija tela/ 82 3,2,1, Destrukcija – dekonstrukcija/ 82 3.2.2. Konvulzivni identitet/ 87 3.2.3. Histerično telo/ 89 4. Reprezentacijske prakse u vizuelnoj umetnosti nadrealizma/ 97 4.1.Telo kao objekt/ 97 4.1.1. Početak telesnih subverzija/ 101 4.1.2. Ţenski akt – izlaganje i fragmentacija/ 106 2 4.2.Telo kao dijalektički prostor označavanja/ 114 4.2.1. Ţensko telo kao sistem označavanja/ 114 4.2.2. Disbalans u reprezentaciji „polnosti”/ 117 4.2.3. Feministički jezik filma/ 125 4.1.4. Dijalektika tela/ 128 5. Performativnost i subverzije tela/ 134 5.1.Otpor identiteta-performativnost tela/ 134 5.1.1.
    [Show full text]
  • Sonja Sekula's Time May Have Finally Come
    PETER BLUM GALLERY Sonja Sekula’s Time May Have Finally Come Sekula was part of a number of different overlapping scenes, and she was loved and thought highly of by many. And then nearly everything about her and her work got forgotten. GALLERIES | WEEKEND By John Yau Saturday April 29, 2017 Sonja Sekula (1918-1963) piqued my curiosity when I first saw some of her works just a few months ago. Still, I was not sure what to expect when I went to the current exhibition Sonja Sekula: A Survey at Peter Blum Gallery (April 21 – June 24, 2017). I had known that this troubled, Swiss-born artist was part of an international circle of artists, writers, choreographers, and composers in New York in the 1940s, when she was in her early twenties, and that since her death by suicide in 1963, she and her work have largely been effaced from history. But aside from a few biographical facts and the handful of works I saw, I knew little else, but it was more than enough to bring me back. Ethnique, (1961), gouache on paper, 20 1/8 x 20 1/8 inches (all images courtesy Peter Blum At one point, while circling the Gallery, New York) galleries two space for the second or third time, I stopped to peer into a vitrine and saw photographs of a young woman sitting in the apartment of Andre Breton when he lived in New York during World War II. In another photograph she and sister are hugging Frida Kahlo, who is recuperating in a New York hospital room.
    [Show full text]
  • LONG ISLAND ARTISTS: Focus on Matt:}"Ials, Our Second Special Rhonda Cooper Exhibition Featuring Long Island Artists
    wto• •:1 ••• 'l)I (IQU.4 !N" Utlfll r. 1\ '-'•1fl"!t••l"9'itQ IN"'° • ••• ,., •1•e.t)I .. "'"•)t'• ,....... • LONG ISLAND ARTISTS Focus On Materials STAN.BRODSKY SARA » 'ALESSANDRO LILLIAN DODSON BEVERLY F.LIAS FIGEL TEMIMA GEZARL SYLVIA BARNICK WOODY HUGHES KATHLEEN KUCKA SEUNG LEE BRUCE LIEBERMAN (\ATINKA MANN NORMAN MERCER MAUREEN PAC:MIERJ RICHARD RE'UTER ARLEEN SCHATZ KAREN SHA JULIE SMALL--CAMBY DAN WELDEN.: f.EL}CITAS WETIER June 13 • ~ 1, 1998 STAN BRODSKY "We explore form for the sake of express­ ion and for the insight it can give us into our own soul." (Paul Klee) I value that sensibility which desires to disclose 011e 's i11ner core. In my work, internalized ex­ periences, modulated principally through color, dictate a subjective response to landscape. /11 painting, I seek to assert my essemial nature. Naucclle # 13, 1997 Oil and paint stick on canvas. 54. 44" Councsy June Kelly Gallery. NYC Photo creclil: 0 1997 Ji m Sirong. Hempstead. NY SARA D' ALESSANDRO Sculpting with my id in the tips of my fingers, I am not certain whether I form the clay or the clay forms me. Mud is the thixotrophy from which these forms arise. They are organic, conveying mortality and allowing glimpses into the mystery of creation. Teeming with texture, extremely respo11sive to light, the history ofprocess is visible for all those who care to see. Earth Tongue. 1996 Terra coua unique. 66" high LILLIAN DODSON I'm continually carving a path by being in touch with self, trusting intuition, and using reference from life.
    [Show full text]
  • 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.
    [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]
  • Proquest Dissertations
    Joyce Mansour's poetics: A discourse of plurality by a second-generation surrealist poet Item Type text; Dissertation-Reproduction (electronic) Authors Bachmann, Dominique Groslier Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 06:15:18 Link to Item http://hdl.handle.net/10150/280687 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge.
    [Show full text]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Visual Culture & Gender • Vol. 11 • 2016
    Visual Culture & GenderVol. • 11 Vol. 2016 11 • 2016 Introduction: Intersections of Feminism, Motherhood, Surrealism, and Art Education an annualan peer-reviewed annual peer-reviewed international international multimedia multimedia journal journal Karen Keifer-Boyd & Deborah Smith-Shank, editors • published by Hyphen-UnPress Karen Keifer-Boyd & Deborah Smith-Shank, editors. Published by Hyphen-UnPress Inspired by texts such as Whitney Chadwick’s (1985) history of women in Surrealism and my travel to Mexico and exchanges with other art educators there, I have expanded my teaching of Surrealists in art FRIDA KAHLO, REMEDIOS VARO, LEONORA CARRINGTON, AND LEONOR FINI: FEMINIST LESSONS IN CHIMERISM, CORPOREALITY, education courses to include artists Remedios Varo, Leonora Carrington, CUISINE, AND CRAFT and Leonor Fini, alongside Frida Kahlo. Particularly within art historical contexts, I believe these four women can be examined in art classrooms as feminist artists and for the vivid, often mythic or astral feminist ethos COURTNEY LEE WEIDA across their works. Their spiritual and magical representations of female selves, birth, and motherhood have intrigued and encouraged me as a Abstract new mother, and I wish that I had encountered these gendered images as a high school student and as a university student during my preparation What visions (and versions) of feminism and motherhood are revealed by four to become an art teacher. Further, these artists can be studied simultane- women artists in the psychologically-laden genre of Surrealism? Frida Kahlo (1907-1954) ously to appreciate the remarkable, often salon-like community of artis- stands out posthumously in contemporary art education lessons (Carroll, 2015; Hubbard, tic discourse they shared.
    [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]