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This paper traces the shift into performative interactions by European scholars and artists as they sought or feigned interaction with the spirits and objects of Native American culture. I discuss the postwar artworks of Max Ernst, Joseph Beuys, and Steven Yazzie. I argue that each of these artists’ use of

This paper traces the shift into performative interactions by European scholars and artists as they sought or feigned interaction with the spirits and objects of Native American culture. I discuss the postwar artworks of Max Ernst, Joseph Beuys, and Steven Yazzie. I argue that each of these artists’ use of Native American objects goes beyond earlier surrealist appropriative and mimetic strategies. From a postcolonial position, these artworks address personal trauma as well as the collective trauma of colonialism. Aby Warburg’s late nineteenth-century travel to the American Southwest, and his resulting notion of an aesthetics of empathy, or of “mimesis through communion with/entering into the object,” becomes very relevant for Beuys’ work in particular. Furthermore these postwar artworks by Ernst, Beuys and Yazzie contain a comic element that invites laughter, a critical/therapeutic element that Pierre Clastres describes as a distinctly political act.

ContributorsMesch, Claudia (Author)
Created2012
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Description

This paper compares two simultaneous exhibitions of Surrealist painters that took place in the Winter of 1965 in New York, arguing that these exhibitions helped to re-write the legacy of Surrealism in the context of contemporary art of the 1960s. Through a consideration of the reception of Rene Magritte and

This paper compares two simultaneous exhibitions of Surrealist painters that took place in the Winter of 1965 in New York, arguing that these exhibitions helped to re-write the legacy of Surrealism in the context of contemporary art of the 1960s. Through a consideration of the reception of Rene Magritte and Salvador Dali, this paper illustrates how the vastly different institutional models of the Museum of Modern Art and the Gallery of Modern Art reframed figurative Surrealism for both contemporary audiences as well as the history of modern art.

ContributorsZalman, Sandra (Author)
Created2012
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This paper works to characterize the relationship between Surrealism’s art, its critical reception and its popularity in American culture, a relationship often mediated by Salvador Dalí’s public embodiment of the movement. Alfred Barr’s 1936 exhibition at the Museum of Modern Art introduced a broad view of Surrealism to a receptive

This paper works to characterize the relationship between Surrealism’s art, its critical reception and its popularity in American culture, a relationship often mediated by Salvador Dalí’s public embodiment of the movement. Alfred Barr’s 1936 exhibition at the Museum of Modern Art introduced a broad view of Surrealism to a receptive American audience. While Surrealism’s investigation into the irrationality of everyday life resonated with the American public, it was Dalí who ensured that the movement stayed in the spotlight, designing among other things, department store windows, magazine covers, and several series of advertisements; by 1939, when Dalí and his dealer Julien Levy promoted a Surrealist Pavilion at the New York World’s Fair, it made sense that the pavilion was located not in the Fine Arts section of the Fair, but in the Amusements Arena. The same year, despite, or perhaps, because of Dalí’s flamboyant articulation of the infiltration of market forces and mass media, he was also recognized as dramatizing the constraints of the circumscribed art world which had just begun to feel the influences of formalism. This paper argues that Dalí posed a challenge that placed Surrealism’s mediation between art and life at the center of the making of an American artistic culture.

ContributorsZalman, Sandra (Author)
Created2007
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ContributorsKavky, Samantha (Author) / Mesch, Claudia (Author) / Winter, Amy H. (Author)
Created2007
The Journal of Surrealism and the Americas: Vol. 2 No. 1 (2008)
Description

The Journal of Surrealism and the Americas: Vol. 2 No. 1 (2008) - Table of Contents

“Surrealism and Ethnography: Introduction” by Amy H. Winter, p. i-vi. 

“Totemic Landscapes and Vanishing Cultures Through the Eyes of Wolfgang Paalen and Kurt Seligmann” by Marie Mauzé, p. 1-24.

“Surrealist Visions of Pre-Columbian Mesoamerica and the Legacy

The Journal of Surrealism and the Americas: Vol. 2 No. 1 (2008) - Table of Contents

“Surrealism and Ethnography: Introduction” by Amy H. Winter, p. i-vi. 

“Totemic Landscapes and Vanishing Cultures Through the Eyes of Wolfgang Paalen and Kurt Seligmann” by Marie Mauzé, p. 1-24.

“Surrealist Visions of Pre-Columbian Mesoamerica and the Legacy of Colonialism: the Good, the (Revalued) Bad, and the Ugly” by Keith Jordan, p. 25-63.

“Surrealism and Inuit Art: The Fascination of the Far North” by Florence Duchemin-Pelletier, p. 64-94.

“Bound Objects and Blurry Boundaries: Surrealist Display and (Anti)Nationalism” by Susan Power, p. 95-113.

“Man Ray’s Lost and Found Photographs: Arts of the Americas in Context” by Wendy Grossman, p. 114-139.

“T.J. Demos, The Exiles of Marcel Duchamp” by Bradley Bailey, p. 140-144. 

“The Dalí Renaissance: New Perspectives on His Life and Art after 1940 and Danser Gala: L’Art Bouffe de Salvador Dalí” by Mary Ann Caws, p. 145-146.

“Review of ‘The Art of Lee Miller’: Victoria and Albert Museum, 2007” by Peter Barberie, p. 147-151.

“Frida Kahlo in Philadelphia: Life and Death” by Samantha Kavky, p. 152-156.

“Thinking the ‘Post-Indian’: Remix: New Modernities in a Post-Indian World” by Claudia Mesch, p. 157-161.

ContributorsWinter, Amy H. (Author) / Mauzé, Marie (Author) / Jordan, Keith (Author) / Duchemin-Pelletier, Florence (Author) / Power, Susan (Author) / Grossman, Wendy A. (Author) / Mesch, Claudia (Author, Author) / Bailey, Charles Bradley (Author) / Caws, Mary Ann (Author) / Barberie, Peter (Author) / Kavky, Samantha (Author)
Created2008