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The Journal of Surrealism and the Americas: Vol. 10 No. 1 (2019) - Table of Contents
“Introduction to the Special Issue on Max Ernst” by Samantha Kavky, p. 1-6.
“Napoleon in the Wilderness: The Transmogrification of a Picture by Max Ernst” by Martin Schieder, p. 7-23.
“Seeing Through an (American) Temperament: Max Ernst’s Microbes, 1946-1953” by Danielle M. Johnson, p. 24-45.
“Max Ernst and the Aesthetic of Commercial Tourism: Max Among Some of His Favorite Dolls” by Carolyn Butler Palmer, p, 46-68.
“Arizona Dream: Maxime Rossi Meets Max Ernst” by Julia Drost, p. 69-83.
“Glowing Like Phosphorus: Dorothea Tanning and the Sedona Western” by Catriona McAra, p. 84-105.
“Conference Review: ‘SURREALISMS: the Inaugural Conference of the International Society for the Study of Surrealism’” by Kristen Strange, p. 106-110.
“Exhibition Review of ‘A Home for Surrealism: Fantastic Painting in Midcentury Chicago’” by Jennifer R. Cohen, p. 111-114.
“Exhibition Review: ‘Native American Art at Documenta 14 and the Issue of Democracy’” by Claudia Mesch, p. 115-120.
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. 6 No. 1 (2012) - Table of Contents
“Notes for a Historiography of Surrealism in America, or the Reinterpretation of the Repressed” by Samantha Kavky, p. i-ix.
“What Makes a Collection Surrealist?: Twentieth-Century Cabinets of Curiosities in Paris and Houston” by Katharine Conley, p. 1-23.
“Dalí, Magritte, and Surrealism’s Legacy, New York c. 1965” by Sandra Zalman, p. 24-38.
“‘What Makes Indians Laugh’: Surrealism, Ritual, and Return in Steven Yazzie and Joseph Beuys” by Claudia Mesch, p. 39-60.
“Cracking up an Alligator: Ethnography, Juan Downey’s Videos, and Irony” by Hjorleifur Jonsson, p. 61-86.
“Review of Effie Rentzou, ‘Littérature Malgré Elle: Le Surréalisme et la Transformation du Littéraire’” by Pierre Taminiaux, p. 87-90.
“In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States” by Susan L. Aberth, p. 91-94.