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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: 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.
“My world is surreal” says Yuxweluptun (b. 1957). The Coast Salish artist lives in Vancouver and therefore on un-ceded native land, where the ‘rights’ of Native people are, contradictorily, defined by the 1876 Indian Act. Yuxweluptun accounts for the surreal in his paintings as retaliation for a mode that drew on Indigenous sources to define itself. They are part of a capacious, populist discursive history that has long informed production and reception of Northwest Coast Native art. ‘The Colour of My Dreams: the Surrealist Revolution in Art’, at the Vancouver Art Gallery (2011) helped to establish its historical framework.