Journal of Surrealism and the Americas (JSA)
The Journal of Surrealism and the Americas focuses on the subject of modern European and American intellectuals’ obsession with the “New World.” This obsession—the very heart of Surrealism—extended not only to North American sites, but also to Latin America, the Caribbean, and to the numerous indigenous cultures located there. The journal invites essays that examine aspects of the actual and fantasized travel of these European and American intellectuals throughout the Americas, and their creative response to indigenous art and culture, including their anthropological and collecting activities, and their interpretations of the various geographic, political, and cultural landscapes of the Americas. We furthermore intend to investigate the interventions / negotiations / repudiations of European/American or other Surrealisms, by indigenous as well as other artists, writers and filmmakers. Original publication is available at: Journal of Surrealism and the Americas
Filtering by
- Creators: Cheng, Joyce Suechun, 1979-
- Creators: White, Mark A.
The Journal of Surrealism and the Americas: Vol. 7 No. 1 (2013) - Table of Contents
“Introduction to the Issue and Special Section on Native American Surrealisms” by Claudia Mesch, p. i-iv.
“George Morrison’s Surrealism” by W. Jackson Rushing III, p. 1-18.
“César Moro’s Transnational Surrealism” by Michele Greet, p. 19-51.
“A Modernist Moment: Native Art and Surrealism at the University of Oklahoma” by Mark A. White, p. 52-70.
“The Opposite of Snake: Surrealism and the Art of Jimmie Durham” by Mary Modeen, p. 71-95.
“‘My World is Surreal,’ or ‘The Northwest Coast’ is Surreal” by Charlotte Townsend-Gault, p. 96-107.
“Complexity and Contradiction in Native American Surrealism” by Robert Silberman, p. 108-130.
“Review of ‘Double Solitaire: The Surreal Worlds of Kay Sage and Yves Tanguy’ & Kay Sage, ‘The Biographical Chronology and Four Surrealist One Act Plays’” by Larry List, p. 131-134.
The Journal of Surrealism and the Americas: Vol. 12 No. 1 (2021) - Table of Contents
"Introduction, Special Issue on Fashion" by Jennifer R. Cohen, Michael Stone-Richards, pp. 1-5
"Fashion in the Formative Years of Parisian Surrealism: The Dress of Time, the Dress of Space" by Krzysztof Fijalkowski, pp. 6-32
"Surrealist Shop Windows: Marketing Breton’s Surrealism in Wartime New York" by Jennifer R. Cohen, pp. 33-59
"Object Study: Binding Saint Glinglin" by Jenny Harris, pp. 60-77
"‘Always for Pleasure’: Chicago Surrealism and Fashion, An Interview with Penelope Rosemont" by Abigail Susik, pp. 78-92
"Sade for the Brave and Open-Minded: Review of Alyce Mahon, The Marquis de Sade and the Avant-Garde" by Joyce Cheng, pp. 93-99
"Review of Henri Behar, Potlatch, André Breton ou la cérémonie du don" by Pierre Taminiaux, pp. 100-103
In the late 1940s, a handful of Native artists studying and working at the University of Oklahoma began to experiment with modernist styles such as Cubism, Expressionism, and most notably Surrealism. Chief Terry Saul, Richard “Dick” West, and Oscar Howe used their Master’s theses to depart from established, accepted styles of Native painting in order to explore the possibilities of Native expression. They were encouraged not only by their instructors, who dabbled with various Surrealist tendencies, but also by notable examples in the museum collection from William Baziotes, Byron Browne, Charles Howard, and Adolph Gottlieb. For the Native artists, Surrealism in its various forms provided a strategy for producing work identifiably Native yet visibly modernist by contemporary definitions. Surrealist fascination with myth and magic provided an accessible framework for them to explore the visionary and mythical within their respective tribal cultures while creating work marketable as both modern and Surrealist.