General Topics Issue No. 2

Cover Image: Kati Horna, S.NOB #1 cover, 1962, ink on paper. Instituto de Investigaciones Filológicas, Mexico City, Mexico

Published: 2021-04-19

The Journal of Surrealism and the Americas: Vol. 11 No. 2 (2020) - Table of Contents                  

"Agustín Cárdenas: Sculpting the 'Memory of the Future' by Susan L. Power, p. 98-119. 

"Bataillean Surrealism in Mexico: S.NOB Magazine (1962)" by David A.J. Murrieta Flores, p. 120-151.

"Mexican Carnival: Profanations in Luis Buñuel's Films Nazarín and Simón del desierto" by Lars Nowak, p. 152-177.

"Giorgio de Chirico, the First Surrealist in Mexico?" by Carlos Segoviano, p. 178-197?

"Exhibition Review: 'I Paint My Reality: Surrealism in Latin America' by Danielle M. Johnson, p. 198-204. 

The historiography of the arrival of Surrealism in Mexico has focused mainly on the personalities of André Breton, Antonin Artaud, César Moro and Wolfgang Paalen, specifically about the latter's time in Mexico and the controversy caused by the 1940 “Surrealist International Exhibition” at the Mexican Art Gallery. However, the first contacts with a painting described as surrealist—by both critics and the Mexican painters themselves—were made with the canvases of Giorgio de Chirico in the late 1920s, although by then the Italian master had distanced himself from the French movement. The connection with de Chirico was established primarily in the approach of Mexican artists who were in Europe at the beginning of the 1920s. This coincided with the movement of a return to order in the development of Mexican Muralism. Later, around 1928, a new generation of Mexican painters, who sought not to imitate Rivera's narrative work, found a source for the development of a figurative painting in de Chirico's enigmatic landscapes that would account for Mexico as a tragic country, wrapped in a fantastic, almost magical, atmosphere.

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. 8 No. 1 (2014) - Table of Contents

“Manuel Álvarez Bravo: Surrealism and Documentary Photography” by Ian Walker, p. 1-27. 

“(Sur)real or Unreal?: Antonin Artaud in the Sierra Tarahumara of Mexico” by Lars Krutak, p. 28-50. 

“Surrealist Views, American Landscapes: Notes on Wolfgang Paalen’s Ruin Gazing” by Kent L. Dickson, p. 51-73.

“‘Don’t Forget I Come From the Tropics’: Reconsidering the Surrealist Sculpture of Maria Martins” by Michael R. Taylor, p. 74-89.

“‘Le centre du milieu’: Matta and the Exploding Dome” by Denise Birkhofer, p. 90-104. 

“Edward James and Plutarco Gastélum in Xilita: Critical Paranoia in the Mexican Jungle” by Irene Herner, p. 105-123.

“Review of Ellen Landau, ‘Mexico and American Modernism’” by Luis M. Castañeda, p. 124-126. 

“‘Surrealist Ghosts and Spectrality in Surrealist Ghostliness’ by Katharine Conley” by Martine Antle, p. 127-129. 

“Review of Roger Rothman, ‘Tiny Surrealism: Salvador Dalí and the Aesthetics of the Small’” by Jonathan S. Wallis, p. 130-135.

“Review of ‘Late Surrealism’: The Menil Collection, May 24- August 25, 2013” by Rachel Hooper, p. 136-139.

“Fantasyland or Wackyland? Animation and Surrealism in 1930s America” by Jorgelina Orfila and Francisco Ortega Grimaldo, p. 1-19.

“El único punto de resistencia: Cultural, Linguistic and Medial Transgressions in the Surrealist Journal VVV” by Andrea Gremels, p. 20-41.

“Chicago Surrealism, Herbert Marcuse, and the Affirmation of the ‘Present and Future Viability of Surrealism’” by Abigail Susik, p. 42-62.

“Surrealist Associations and Mexico’s Precariat in Roberto Wong’s París D.F.” by Kevin M. Anzzolin, p. 63-80.

“Book Review: New Books on Dorothea Tanning” by Katharine Conley, p. 81-83.

“Exhibition Review: ‘Photography and the Surreal Imagination’” by Sandra Zalman, p. 84-89.

“Exhibition Review: ‘Monsters and Myths: Surrealism and War in the 1930s and 1940s’” by Jonathan S. Wallis, p. 86-93