Journal of Surrealism and the Americas (JSA)

The creative works of artist and poet Juan Batlle Planas (1911-1966)—a figure relatively unknown outside of Argentina—have long been understood as enigmatic and solitary experiments in surrealism. This essay, through a combination of formal analysis and cultural history, examines his collage series and paintings made in the 1930s and 1940s—especially his Paranoid X-ray series—to argue that these works are representative of a broader set of urban cultural responses in Argentina to the struggles of economic recession, political uncertainty brought by military rule of the 1930s, and tidal waves of (mis)information spread by mass mediated news sources. In particular, my analysis expands on Beatriz Sarlo’s theory of the “knowledge of the poor,” a term she uses to indicate the prominence of professional science, pop psychology, and crackpot inventions in Buenos Aires’s working class and middle class cultures of the 1920s and 1930s. By placing Batlle Planas’ work in this historical context, this essay reveals how Batlle Planas’ eclectic interests in Freudian psychology, Tibetan Buddhism, crystallized minerals, and the bizarre healing theories of Wilhelm Reich correlate with the growing technological imagination inspired by Argentina’s mass media, which in the early decades of the 20th Century circulated a surrealistic jumble of cultural information across Latin America.

In 1937, the Catalogue of the Fantastic Art, Dada, Surrealism exhibition in the New York Museum of Modern Art (MOMA), edited by Alfred H. Barr Jr, with an essay by Georges Hugnet, appears the image of a painting by David Alfaro Siqueiros: Collective Suicide,1936, under subject 13 of the exhibition Guide, as part of a group of works selected under the title "Creation of Evocative Chaos," together with other works by Klee, Dominguez, Tanguy, Cheval and Schwitters. The photo of the painting is inscribed in a chapter called "Artists independent of the Dada-Surrealist movements." Arranged alphabetically it includes works by Blume, Calder, Castellón, Disney, Dove, Evans, Merrild, Feitelson, Gonzales, Lewis, O'Keeffe, Roy, Putnam, Smith, Goldberg, Thurber, Tonny and Beall.* *A group of paintings and sculptures by American artists as varied and different as can be. Today at the Tate Modern Museum in London, the permanent exhibition of Surrealism includes another work by Siqueiros under the title "Cosmos and Disaster." Both paintings by Siqueiros are apocalyptic visions of the approaching Civil War in Spain and of the Second World War. Although Siqueiros is better known as one of the three greatest realist Mexican muralists of the 20th Century, it is strange, although indicative, that two works of his are recognized in both different moments of the history of modern art, as surrealist expressions, in the 1930s and in the first decade of the new Century. Indicative, as one can not forget the fundamental involvement of historical Surrealism with Communism during that period, as well as with the concept of art as a revolutionary endeavor in itself. To be a militant of the Communist Party during the thirties was quite a different thing than before or after. Siqueiros´ militancy at the time, had to do with the idea that the world can be changed, but also, that art is a testimony of horrors and a therapy of self esteem in the midst of it. Siqueiros founded the "Siqueiros Experimental Workshop" at # 5 of Fourteenth Street, New York, at the beginning of 1936, after the International Conference of Artists, organized by artists members of the USA Communist Party, as part of the International policy of the Communist Party’s "Open Popular Front" against fascism and war. And before Siqueiros became himself a soldier in Spain. In this workshop Siqueiros directed a group of young American and Latin American artists that came together in order to participate with the party in its antifascist, antiwar propaganda. The International Communist Front allowed non communists to participate with them united by their antifascist positions. The center of their creative work became Siqueiros´ concept of art seen not only as a revolutionary weapon against Franco, Hitler, Mussolini and others like Hearst and other European, Mexican and American tycoons, but as a revolutionary activity in itself. It is well known that among the young members of this workshop was young Jackson Pollock. The style of the two paintings I am referring to can be defined with the same type of language then used by Surrealism, and specifically by the curators of this exhibit. Both works are almost abstract, they were made with experimental materials, generated strange forms, and developed new techniques. Collective Suicide is integrated with pieces of wood, like in a collage and the many tiny, not more than one inch sized figures that are depicted in it were added with stencils. Both works are Siqueiros own version of automatism, which he named “Controlled Accidents.” He started painting them on the floor, throwing into the canvas new industrial color –explosive pyroxiline- directly from the cans, on to which he also added different kinds of foreign materials like nails, fragments of wood and sand, creating a thick texture and a mysterious space. They both give the impression of an explosive Cosmos, a sensation of chaos. Collective Suicide is almost abstract, yet an absolutely representative testimony of the Spanish Civil War, in which many citizens were ready to die fighting for their democratic rights. Like in many other occasions’ of World history one or all four Horses of Apocalypse mark the Time of individuals. It is the same nightmare, which inspired one year later Picasso's Guernica. In Siqueiros picture many men and women, as well as their children and grandchildren, take the horrible decision to commit massive suicide because their life becomes an impossible existence. To take their own lives for the cause of Liberty, Fraternity and equal Rights. The decision to fight against authoritarianism, misery, sickness, and lack of freedom. Always a fight for life in a world lead by diverse utopical visions and ideals of humankind. The sacred engagement with life, understood as dedication, path and sense. Siqueiros is at that moment a militant and partisan, but also –while he prepares for warfare- he is dedicated to express this spirit artistically, with an open mind, appropriating all what Western art traditions offer, and assuming as well, all what the universe of science and technology was discovering, especially in America. In 1936 Siqueiros continued the explorations of his first stay in the United States in Los Angeles 1932, through an experimental research of new significants and devises to express this ideals, not only convincing the audience by arguments, but by moving their sensitive and emotional side, competing with very powerful new mass media, as cinema. The painting at the Tate Collection is practically abstract, only a little flame in the middle of the dark canvas remains after the great explosion. A few lines of force center the flame in the composition. The darkness of the painted full space, reminds the blackness surrounding the ones in Van Dyke portraits. But it is constructed over the floor, juxtaposing layers of paint that combine over the canvas, making strange, unexpected forms. Maybe with the same spirit of Ernst’s frottage (Maybe that is why the painting hangs at the side of Max Ernst’s Dadaville, 1924). Cosmos and Disaster is the subject of the picture, painted at the same year of another of his impressive apocalyptic paintings: The End of the World, in which there is only one human survival left among the buildings on fire. Siqueiros paintings of 1936 are a reminder of the mystery of human horror. In my text I plan to work more on Siqueiros' concept of the accidental, or the unconscious, in his art and on his Siqueiros Experimental Workshop, with the information taken from diverse recorded and written materials researched at the Smithsonian archive in New York, at the Pollock/Krasner house and Study Center, other documents recommended by Ellen Landau and the Siqueiros Archives in Mexico, and at the Getty Research Institute in LA, which I published as part of my book Siqueiros. Del Paraíso a la Utopía , 2004.

In keeping with the first two issues of the Journal of Surrealism and the Americas, this third issue aims to broaden the horizon of critical concerns to which the publication is dedicated, turning our attention here to photographic contributions to the discourse of Surrealism and the Americas. Photography, of course, played a central role in surrealist practices since the movement’s inception, as the plethora of scholarship on the topic has underscored. It is thus not surprising that as the movement gained adherents across the Atlantic, the medium would find its calling in this new context as well.

In 1937, Ansel Adams described the photographs taken some sixty years earlier by Timothy O’Sullivan in the American West as “surrealistic and disturbing.” He was writing to Beaumont Newhall, who was then curating a landmark exhibition celebrating the centenary of photography’s invention.

This paper examines the 1930s as a formative moment in the Modernist history of photography. At this time, Adams and Newhall—influenced also by Alfred Steiglitz and Edward Weston—developed a history for their young medium that emphasized certain practices and approaches. The Western Survey photographs of the 1870s became cornerstones in this history, for they seemed to exemplify a photographic sensibility unencumbered by artistic aspiration.

A tension develops here between the attempt to define and restrict the medium, and the need to explain the strange qualities of these early photographs, leading to the invocation of surrealism. By examining surrealism’s deployment in this context, the paper provides a different angle from which to view the West as subject and surrealism as style in the history of photography.

In New York in 1944, the Surrealist magazine VVV published two photographs of the Arizona desert by Frederick Sommer. They are radical images in their minimalism and intensity of attention to (apparently) very little.

Sommer’s immediate connection was with Max Ernst, who saw these pictures when he visited Arizona in 1943. Later, when Ernst came to live at Sedona, the two men influenced each other’s work. Yves Tanguy also visited in 1951 and J. T. Soby suggested that the ‘breathless congestion of boulders, pebbles and bones’ in Tanguy’s last paintings derive from his experience of the desert as viewed through Sommer’s photographs.

Even in Europe, where Surrealism was predominantly urban, there had been an interest in the extreme landscapes of desert or jungle. But while Salvador Dali transformed rock forms into bodies, the challenge of the desert as Sommer depicted it was that no such transformation was possible. In addition, there was a Surrealist fascination with the "terrain vague"—land which is formless, void of composition—and it would be intriguing to extend the idea to Sommer’s desert pictures, which equally irritate the eye with their apparent lack of organization and focus.

It was Sommer’s meeting with Edward Weston that led to his use of a 10 x 8” camera to create the intensity of these pictures. But Sommer’s sense of the violence of the desert was at odds with the positive way it was depicted by Weston or Ansel Adams and his work was written out of photographic history for a long time. It’s no accident that it was rediscovered in the 1970s, when the myth of the American West was subjected to a severe critique and it’s intriguing to also place Sommer’s photographs in a lineage that goes back to Timothy O’Sullivan and forward to Richard Misrach.

Sommer’s work stands then at the intersection between the photography of the American West and Surrealism - between Edward Weston and Max Ernst. But it is also quite unlike either and, in their unflinching gaze at a subject that is both intense and empty, Sommer’s Arizona Landscapes profoundly undermine the conventions of vision.