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: Sherman, Elisabeth
- Creators: Lusty, Natalya Frances
The Journal of Surrealism and the Americas: Vol. 4 No. 1 (2010) - Table of Contents
“Out of Field (Fuera de campo): Marcel Duchamp in Buenos Aires” by Graciela Speranza, p. 1-14.
“Légitime défense: From Communism and Surrealism to Caribbean Self-Definition” by Lori Cole, p. 15-30.
“Remedios Varo's Mexican Drawings” by Rosa Berland, p. 30-42.
“Bee Dreaming: the Surreal Odysseys Behind Alan Glass’ Wunderkabinetts” by Gloria Orenstein, p. 43-59.
“Review of Patricia Allmer, ‘René Magritte: Beyond Painting’ by Terri Geis, p. 60-63.
“Review of Eric Ratcliffe, ‘Ithell Colquhoun: Pioneer Surrealist, Artist, Occultist, Writer and Poet’” by Elisabeth Sherman, p. 64-68.
“‘Arshile Gorky: A Retrospective’: Issues of Identity and Camouflage” by Samantha Kavky, p. 69-72.
“Review of Catherine Millet, ‘Dalí and Me’” by Jonathan S. Wallis, p. 73-77.
“Maria Martins: the Open Secret of Étant donnés. Review of ‘Marcel Duchamp. Étant donnés’” by Frédérique Joseph-Lowery, p. 78-85.
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.
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.
Kay Sage documented her final body of work in an artist's book titled "Your Move", published in 1961 in conjunction with an exhibition of the same name. Through the combination of reproductions of assemblage works included in the exhibition, and a poem of the same title, Sage weaved in complex references to her past and her artistic influences, while using the metaphors of games throughout to draw the disparate ideas together. This combination of text and image, reference and metaphor, presents a complicated and never-stable portrait of Sage as she saw her own identity, always changing and maleable.
