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. 5 No. 1 (2011) - Table of Contents

“Women in the Surrealist Conversation: Introduction” by Katharine Conley, p. i-xiv.

“Temple of the Word: (Post-) Surrealist Women Artists’ Literary Production in America and Mexico” by Georgiana M.M. Colvile, p. 1-18. 

“Leonora Carrngton, Mexico, and the Culture of  Death” by Jonathan P. Eburne, p. 19-32.

“The Lost Secret: Frida Kahlo and the Surrealist Imaginary” by Alyce Mahon, p. 33-54.

“Art, Science and Exploration: Rereading the Work of  Remedios Varo” by Natalya Frances Lusty, p. 55-76.

“Mary Low’s Feminist Reportage and the Politics of Surrealism” by Emily Robins Sharpe, p. 77-97. 

“Waste Management: Hitler’s Bathtub” by Laurie Monahan, p. 98-119.

“Kay Sage’s ‘Your Move’ and/as Autobiography” by Elisabeth F. Sherman, p. 120-133.

“Dorothea Tanning and her Gothic Imagination” by Victoria Carruthers, p. 134-158.

“The Colour of  My Dreams: The Surrealist Revolution in Art” by Steven Harris, p. 159-161.

‘Alias Man Ray: The Art of Reinvention’: The Jewish Museum, November 15, 2009 - March 14, 2010” by Lewis Kachur, p. 162-167.

“Review of Gail Levin, ‘Lee Krasner: A Biography’” by Sandra R. Zalman, p. 168-171.

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.

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.

“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

The Journal of Surrealism and the Americas: Vol. 9 No. 1 (2016) - Table of Contents

“Anemic Cinema: Dada/Surrealism and Film in the Americas: Introduction to the Cinema Issue” by Samantha Kavky, p. i-iii.

“‘Polycythemia,’ or Surrealist Intertextuality in the Light of Cinematic ‘Anemia’” by Robert J. Belton, p. 1-13.

“Modern Architecture Will Help You” by Ana María León, p, 14-39. 

“Radio Transmission: Electricity and Surrealist Art in 1950s and ‘60s San Francisco” by R. Bruce Elder, p. 40-61.

“Surrealism in the Autobiographical Cinema of Alejandro Jodorowsky: Dance of Reality (La Danza de la realidad, 2013) and Endless Poetry (Poesía sin fin, 2016)” by George Melnyk, p. 62-66. 

“Review of Wolfgang Paalen, ‘Form and Sense’ with an Introduction by Martica Sawin” by Ellen G. Landau, p. 67-72. 

While the majority of the scholarship around surrealist relationships with fashion look at the era of the 1930s onwards, this article considers the first period of surrealism during the 1920s, including its prehistory in the mouvement flou as it emerged via Paris Dada and Littérature, asking two related questions: what was the presence and status of the discourse of fashion for surrealism during these formative years; and in what kinds of fashion practices did its members engage? In response to the first of these, an examination of the group’s journals, publications and documents suggests that fashion stands as a significant and abiding area of interest for the group and its members. Writings by André Breton, Louis Aragon, René Crevel and others are correlated with surrealist images and artworks to reflect upon this sustained and informed engagement with men’s and above all women’s fashion, and suggest a particularly keen awareness of the changes in clothing styles over the recent past. The second question has rarely been asked in a systematic way: how did the early Parisian surrealists reflect these interests in their own day-to-day fashion choices and preferences? Given that the majority of the early Parisian surrealist group was male, the focus here is predominantly on men’s fashion, and analysis of memoirs, correspondence and documents such as the photographs taken in the Bureau de recherches surréalistes provides evidence of collective and individual positions. The fashion choices of Simone and André Breton form a particular area of concern, revealing some nuanced developments and unorthodox moments in their day-to-day attitudes.