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

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The Journal of Surrealism and the Americas: Vol. 5 No. 1 (2011)
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The Journal of Surrealism and the Americas: Vol. 5 No. 1 (2011) - Table of Contents

“Women in the Surrealist Conversation: Introduction” by Katharine Conley, p. i-xiv.

“Temple of the Word: (Post-) Surrealist Women Artists’ Literary Production in America and Mexico” by Georgiana M.M. Colvile, p. 1-18. 

“Leonora Carrngton, Mexico, and the Culture

The Journal of Surrealism and the Americas: Vol. 5 No. 1 (2011) - Table of Contents

“Women in the Surrealist Conversation: Introduction” by Katharine Conley, p. i-xiv.

“Temple of the Word: (Post-) Surrealist Women Artists’ Literary Production in America and Mexico” by Georgiana M.M. Colvile, p. 1-18. 

“Leonora Carrngton, Mexico, and the Culture of  Death” by Jonathan P. Eburne, p. 19-32.

“The Lost Secret: Frida Kahlo and the Surrealist Imaginary” by Alyce Mahon, p. 33-54.

“Art, Science and Exploration: Rereading the Work of  Remedios Varo” by Natalya Frances Lusty, p. 55-76.

Mary Low’s Feminist Reportage and the Politics of Surrealism” by Emily Robins Sharpe, p. 77-97. 

“Waste Management: Hitler’s Bathtub” by Laurie Monahan, p. 98-119.

“Kay Sage’s ‘Your Move’ and/as Autobiography” by Elisabeth F. Sherman, p. 120-133.

“Dorothea Tanning and her Gothic Imagination” by Victoria Carruthers, p. 134-158.

“The Colour of  My Dreams: The Surrealist Revolution in Art” by Steven Harris, p. 159-161.

‘Alias Man Ray: The Art of Reinvention’: The Jewish Museum, November 15, 2009 - March 14, 2010” by Lewis Kachur, p. 162-167.

“Review of Gail Levin, ‘Lee Krasner: A Biography’” by Sandra R. Zalman, p. 168-171.

ContributorsConley, Katharine (Author) / Colvile, Georgiana M. M. (Author) / Eburne, Jonathan (Author) / Mahon, Alyce (Author) / Lusty, Natalya Frances (Author) / Sharpe, Emily Robins (Author) / Monahan, Laurie (Author) / Sherman, Elisabeth (Author) / Carruthers, Victoria (Author) / Harris, Steven (Author) / Kachur, Lewis (Author) / Zalman, Sandra (Author)
Created2011
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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:

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.

ContributorsMesch, Claudia (Author) / Rushing III, W. Jackson (Author) / Greet, Michele M. (Author) / White, Mark A. (Author) / Modeen, Mary (Author) / Townsend-Gault, Charlotte (Author) / Silberman, Robert (Author) / List, Larry (Author)
Created2013
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The Chippewa modernist George Morrison (1919-2000) was the first Native American artist to be engaged by surrealist principles and strategies, including automatic writing, collage, and the use of found objects. After training at the Art Students League in New York City (1943-‘46) and studying and exhibiting in Paris and the

The Chippewa modernist George Morrison (1919-2000) was the first Native American artist to be engaged by surrealist principles and strategies, including automatic writing, collage, and the use of found objects. After training at the Art Students League in New York City (1943-‘46) and studying and exhibiting in Paris and the south of France (1952-‘53), Morrison participated in the Abstract Expressionist milieu in Manhattan, where he was befriended by the painter Franz Kline. After more than twenty-five years as a conflicted expatriate, Morrison returned to his Native roots in Minnesota in 1970 and began to use Surrealism and its interest in dreams to forge an identity as an indigenous modernist. Because of his unwavering commitment to a surrealist process that he practiced for almost sixty years, authenticity and integrity are the twin characteristics that unify Morrison’s diverse creations.

ContributorsRushing III, W. Jackson (Author)
Created2013
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This essay reconsiders Remedios Varo's work within the context of her lifelong fascination with science as well as the broader epistemological and metaphysical questions driving the intellectual innovations of the 20th century. Varo's commercial illustration and late painting explicitly draw on the new physics, the hidden world of microbiology, the

This essay reconsiders Remedios Varo's work within the context of her lifelong fascination with science as well as the broader epistemological and metaphysical questions driving the intellectual innovations of the 20th century. Varo's commercial illustration and late painting explicitly draw on the new physics, the hidden world of microbiology, the speculations of metaphysics, the world of engineering and mechanical design, as well as the intricate labor of the domestic sciences and crafts, as a way to explore the relationship between science and art on the one hand, and the old and the new on the other. In moving beyond the familiar rhetoric ­ mystical, inspired, dream-like, esoteric ­ that often accompanies an appreciation of Varo's work, this essay explores her interest in a range of scientific themes and intellectual ideas which were central to the Surrealist movement's interdiscplinary engagement.

ContributorsLusty, Natalya Frances (Author)
Created2011