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.

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.

First marketed in the US 1875, Lydia Pinkham’s Vegetable Compound was an herbal medicine used by women to relieve menstrual discomfort and menopausal symptoms in women. The herbal compound was invented by Lydia Estes Pinkham in 1873 in her home kitchen in Lynn, Massachusetts. Pinkham created the compound by mixing alcohol with roots and herbs. The compound was patented, packaged, and distributed by the Mrs. Lydia Pinkham Medicine Company in 1876. The Mrs. Lydia Pinkham Medicine Company advertised the compound in many US newspapers and magazines, causing Lydia Pinkham’s Vegetable Compound to become a household name and making treatments for female reproductive discomfort mainstream in the US.

In 2014, Big Belli, a media and social networking brand, released a documentary called 40 Weeks online. The documentary, directed by Christopher Henze, followed multiple women during their pregnancies. The film predominantly features three women, though it includes the stories of many. Throughout the film, women detail their accounts of the physical and emotional changes that occur during pregnancy. 40 Weeks provides viewers with information about different aspects of pregnancy including the importance of nutrition and hydration, knowledge about safe medications, and the possible complications that can affect a pregnant woman and her fetus.

Self-proclaimed female physician Ann Trow was a women’s reproductive health specialist as well as an abortion provider in New York City, New York during the mid 1800s. Though she had no formal medical training or background, Trow provided women with healthcare and abortions under the alias Madame Restell. Restell gained attention across the United States for her career as a professional abortionist during a time when abortions were highly regulated and punishable with imprisonment. Restell was tried numerous times for carrying out abortions. She never confessed to any crimes, but she was convicted on several occasions. Her services as a business woman, medicine producer, abortion provider, boarding house maintainer, and adoption facilitator provided women with solutions to unwanted pregnancies throughout her forty years of healthcare service and made her a subject of widespread controversy in the United States.

The Chicago Women’s Liberation Union, hereafter Union or CWLU, was a feminist union that operated in Chicago, Illinois, from 1969 to 1977 and was the first and largest union, at the time of its operation, focused on women’s issues. The Union organized women with the self-proclaimed collective goal of achieving liberation from sexism and inequality. Within the larger CWLU, smaller groups and chapters formed to address issues such as abortion, rape, child care, and reproductive health, among others. During CWLU’s eight years of operation, the activists circulated petitions, held demonstrations, and visited high schools to raise public awareness of women’s issues. The CWLU created educational opportunities for women in response to apparent sexism in the US and connected them to social groups to further the women’s liberation movement and women’s reproductive health awareness in the United States.

The Boston Women’s Health Book Collective was a women’s health organization headquartered in Boston, Massachusetts, that published the informational book Our Bodies Ourselves, which sold over 4.5 million copies. Initially called the Doctor’s Group, the Collective formed in response to the insufficiency of women-specific health information during the late 1960s and early 1970s. Members of the organization participated in the women’s liberation movement in Boston, Massachusetts, and conducted research on women’s health using resources such as medical textbooks. They collectively created an original publication surrounding women’s health concerns and offered educational courses for women to learn more about their bodies and to share their experiences. The Boston Women’s Health Book Collective, later called Our Bodies Ourselves, expanded access to women’s health information throughout the world with their publications, courses, and outreach.

In the spring of 1841, abortionist Ann Lohman, called Madame Restell, was convicted for crimes against one of her abortion clients, Maria Purdy. In a deathbed confession, Purdy admitted that she had received an abortion provided by Madame Restell, and she further claimed that the tuberculosis that she was dying from was a result of her abortion. Restell was charged with administering an illegal abortion in New York and her legal battles were heavily documented in the news. Madame Restell’s arrest was one of many highly publicized altercations with the law she experienced during her forty years as a professional abortion provider. Her trial was one of the first abortion trials in American history. Although the charges against Restell were later dropped due to many minor legal complications, her trial brought attention to the legal controversies surrounding abortion as well as the high likelihood of legal action and convictions of abortion crimes in New York during the 1800s.