Surrealism: Key Concepts


Book Description

Emerging from the disruption of the First World War, surrealism confronted the resulting ‘crisis of consciousness’ in a way that was arguably more profound than any other cultural movement of the time. The past few decades have seen an expansion of interest in surrealist writers, whose contribution to the history of ideas in the twentieth-century is only now being recognised. Surrealism: Key Concepts is the first book in English to present an overview of surrealism through the central ideas motivating the popular movement. An international team of contributors provide an accessible examination of the key concepts, emphasising their relevance to current debates in social and cultural theory. This book will be an invaluable guide for students studying a range of disciplines, including Philosophy, Anthropology, Sociology and Cultural Studies, and anyone who wishes to engage critically with surrealism for the first time. Contributors: Dawn Ades, Joyce Cheng, Jonathan P. Eburne, Krzysztof Fijalkowski, Guy Girard, Raihan Kadri, Michael Löwy, Jean-Michel Rabaté, Michael Richardson, Donna Roberts, Bertrand Schmitt, Georges Sebbag, Raymond Spiteri, and Michael Stone-Richards.




Surrealism


Book Description

This book examines the salient ideas and practices that have shaped Surrealism as a protean intellectual and cultural concept that fundamentally shifted our understanding of the nexus between art, culture, and politics. By bringing a diverse set of artistic forms and practices such as literature, manifestos, collage, photography, film, fashion, display, and collecting into conversation with newly emerging intellectual traditions (ethnography, modern science, anthropology, and psychoanalysis), the essays in this volume reveal Surrealism's enduring influence on contemporary thought and culture alongside its anti-colonial political position and international reach. Surrealism's fascination with novel forms of cultural production and experimental methods contributed to its conceptual malleability and temporal durability, making it one of the most significant avant-garde movements of the twentieth century. The book traces how Surrealism's urgent political and aesthetic provocations have bequeathed an important legacy for recent scholarly interest in thing theory, critical vitalism, new materialism, ontology, and animal/human studies.




Surrealism at Play


Book Description

In Surrealism at Play Susan Laxton writes a new history of surrealism in which she traces the centrality of play to the movement and its ongoing legacy. For surrealist artists, play took a consistent role in their aesthetic as they worked in, with, and against a post-World War I world increasingly dominated by technology and functionalism. Whether through exquisite-corpse drawings, Man Ray’s rayographs, or Joan Miró’s visual puns, surrealists became adept at developing techniques and processes designed to guarantee aleatory outcomes. In embracing chance as the means to produce unforeseeable ends, they shifted emphasis from final product to process, challenging the disciplinary structures of industrial modernism. As Laxton demonstrates, play became a primary method through which surrealism refashioned artistic practice, everyday experience, and the nature of subjectivity.




Manifesto of Surrealism


Book Description

Two Surrealist Manifestos were issued by the Surrealist movement, in 1924 and 1929. They were both written by Andr� Breton. Andr� Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. The first Surrealist manifesto was written by Breton and published in 1924 as a booklet (Editions du Sagittaire). The document defines Surrealism as:"Psychic automatism in its pure state, by which one proposes to express - verbally, by means of the written word, or in any other manner - the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern." Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality". Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.




Women Artists and the Surrealist Movement


Book Description

A revised edition of Whitney Chadwick’s seminal work on the women artists who shaped the Surrealist art movement. This pioneering book stands as the most comprehensive treatment of the lives, ideas, and art works of the remarkable group of women who were an essential part of the Surrealist movement. Leonora Carrington, Frida Kahlo, and Dorothea Tanning, among many others, embodied their age as they struggled toward artistic maturity and their own “liberation of the spirit” in the context of the Surrealist revolution. Their stories and achievements are presented here against the background of the turbulent decades of the 1920s, ’30s, and ’40s and the war that forced Surrealism into exile in New York and Mexico. Whitney Chadwick, author of the highly acclaimed Women, Art, and Society, interviewed and corresponded with most of the artists themselves in the course of her research. Women Artists and the Surrealist Movement, now revised with a new foreword by art historian Dawn Ades, contains a wealth of extracts from unpublished writings and numerous illustrations never before reproduced. Since this book was first published, it has acquired the undeniable status of a classic among artists, art historians, critics, and cultural historians. It has inspired and necessitated a revision of the story of the Surrealist movement.




Dark Toys


Book Description

A wide-ranging look at surrealist and postsurrealist engagements with the culture and imagery of childhood We all have memories of the object-world of childhood. For many of us, playthings and images from those days continue to resonate. Rereading a swathe of modern and contemporary artistic production through the lens of its engagement with childhood, this book blends in-depth art historical analysis with sustained theoretical exploration of topics such as surrealist temporality, toys, play, nostalgia, memory, and 20th-century constructions of the child. The result is an entirely new approach to the surrealist tradition via its engagement with "childish things." Providing what the author describes as a "long history of surrealism," this book plots a trajectory from surrealism itself to the art of the 1980s and 1990s, through to the present day. It addresses a range of figures from Marcel Duchamp, Giorgio de Chirico, Max Ernst, Hans Bellmer, Joseph Cornell, and Helen Levitt, at one end of the spectrum, to Louise Bourgeois, Eduardo Paolozzi, Claes Oldenburg, Susan Hiller, Martin Sharp, Helen Chadwick, Mike Kelley, and Jeff Koons, at the other.




Manifestoes of Surrealism


Book Description

A collection of both of the Manifestoes of Surrealism written by Andre Breton in 1924 and 1929. The pocket book size to make the two manifestoes more accessible in print without being part of some collected works.




Surrealism: Key Concepts


Book Description

Emerging from the disruption of the First World War, surrealism confronted the resulting ‘crisis of consciousness’ in a way that was arguably more profound than any other cultural movement of the time. The past few decades have seen an expansion of interest in surrealist writers, whose contribution to the history of ideas in the twentieth-century is only now being recognised. Surrealism: Key Concepts is the first book in English to present an overview of surrealism through the central ideas motivating the popular movement. An international team of contributors provide an accessible examination of the key concepts, emphasising their relevance to current debates in social and cultural theory. This book will be an invaluable guide for students studying a range of disciplines, including Philosophy, Anthropology, Sociology and Cultural Studies, and anyone who wishes to engage critically with surrealism for the first time. Contributors: Dawn Ades, Joyce Cheng, Jonathan P. Eburne, Krzysztof Fijalkowski, Guy Girard, Raihan Kadri, Michael Löwy, Jean-Michel Rabaté, Michael Richardson, Donna Roberts, Bertrand Schmitt, Georges Sebbag, Raymond Spiteri, and Michael Stone-Richards.




History of the Surrealist Movement


Book Description

Tracing the movement from its origins in the 1920s to its decline in the 1950s and 1960s, Durozoi tells the history of Surrealism through its activities, publications, and reviews, demonstrating its close ties to some of the most explosive political, as well as creative, debates of the twentieth century. Unlike other histories, which focus mainly on the pre-World War II years of the movement in Paris, Durozoi covers both a wider chronological and geographic range, treating in detail the postwar years and Surrealism's colonization of Latin America, the United States, Japan, Czechoslovakia, Belgium, Italy, and North Africa. Drawing on documentary and visual evidence--including 1,000 photos, many of them in color--he illuminates all the intellectual and artistic aspects of the movement, from literature and philosophy to painting, photography, and film. All the Surrealist stars and their most important works are here--Aragon, Borges, Breton, Buñuel, Cocteau, Crevel, Dalí, Desnos, Ernst, Man Ray, Soupault, and many more--for all of whom Durozoi has provided brief biographical notes in addition to featuring them in the main text.




Surrealism, History and Revolution


Book Description

This book is a new account of the surrealist movement in France between the two world wars. It examines the uses that surrealist artists and writers made of ideas and images associated with the French Revolution, describing a complex relationship between surrealism's avant-garde revolt and its powerful sense of history and heritage. Focusing on both texts and images by key figures such as Louis Aragon, Georges Bataille, Jacques-André Boiffard, André Breton, Robert Desnos, Max Ernst, Max Morise, and Man Ray, this book situates surrealist material in the wider context of the literary and visual arts of the period through the theme of revolution. It raises important questions about the politics of representing French history, literary and political memorial spaces, monumental representations of the past and critical responses to them, imaginary portraiture and revolutionary spectatorship. The study shows that a full understanding of surrealism requires a detailed account of its attitude to revolution, and that understanding this surrealist concept of revolution means accounting for the complex historical imagination at its heart.