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This paper traces the shift into performative interactions by European scholars and artists as they sought or feigned interaction with the spirits and objects of Native American culture. I discuss the postwar artworks of Max Ernst, Joseph Beuys, and Steven Yazzie. I argue that each of these artists’ use of

This paper traces the shift into performative interactions by European scholars and artists as they sought or feigned interaction with the spirits and objects of Native American culture. I discuss the postwar artworks of Max Ernst, Joseph Beuys, and Steven Yazzie. I argue that each of these artists’ use of Native American objects goes beyond earlier surrealist appropriative and mimetic strategies. From a postcolonial position, these artworks address personal trauma as well as the collective trauma of colonialism. Aby Warburg’s late nineteenth-century travel to the American Southwest, and his resulting notion of an aesthetics of empathy, or of “mimesis through communion with/entering into the object,” becomes very relevant for Beuys’ work in particular. Furthermore these postwar artworks by Ernst, Beuys and Yazzie contain a comic element that invites laughter, a critical/therapeutic element that Pierre Clastres describes as a distinctly political act.

ContributorsMesch, Claudia (Author)
Created2012
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Known primarily as a surrealist poet, César Moro also created numerous paintings and collages in a surrealist mode. Born in Peru, Moro made the obligatory sojourn to Paris in 1925 to immerse himself in European avant-garde activities. In 1928 he met André Breton and began to experiment with surrealist technique

Known primarily as a surrealist poet, César Moro also created numerous paintings and collages in a surrealist mode. Born in Peru, Moro made the obligatory sojourn to Paris in 1925 to immerse himself in European avant-garde activities. In 1928 he met André Breton and began to experiment with surrealist technique as a means to push both his painting and his poetry in new directions. Moro was one of the first Latin American artists to take up collage as an autonomous art form, creating images that combine text with photographs from advertisements, scientific journals, and newspapers in bizarrely incongruous ways.
When he returned to Peru, Moro organized the first exhibition of surrealist art in Latin America at the Academía Alcedo in Lima, Peru in 1935. Given the dominance of Indigenism in the visual arts in Peru, this was a bold move on Moro’s part. While the exhibition baffled the public, it introduced new possibilities to young artists working in Peru and challenged the ascendancy of Indigenism. In 1938 Moro left Peru for Mexico where he would remain for the next decade. There he renewed his contact with Breton and the two joined forces, together with the painter Wolfgang Paalen, to organize the Exposición Internacional del Surrealismo at the Galería de Arte Mexicano in 1940.
This essay will trace César Moro’s extensive engagement with surrealism, from his early participation in Breton’s surrealist group in Paris, to the exhibition he organized in Peru, and finally to Mexico. By examining closely Moro’s surrealist collages and paintings, I hope to reveal the depth of his involvement with the movement, as an artist, poet, and organizer on a transnational scale.

ContributorsGreet, Michele M. (Author)
Created2013
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ContributorsKavky, Samantha (Author) / Mesch, Claudia (Author) / Winter, Amy H. (Author)
Created2007
The Journal of Surrealism and the Americas: Vol. 2 No. 1 (2008)
Description

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

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.

ContributorsWinter, Amy H. (Author) / Mauzé, Marie (Author) / Jordan, Keith (Author) / Duchemin-Pelletier, Florence (Author) / Power, Susan (Author) / Grossman, Wendy A. (Author) / Mesch, Claudia (Author, Author) / Bailey, Charles Bradley (Author) / Caws, Mary Ann (Author) / Barberie, Peter (Author) / Kavky, Samantha (Author)
Created2008
Description

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

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.   

ContributorsKavky, Samantha (Author) / Schieder, Martin (Author) / Johnson, Danielle M. (Author) / Palmer, Carolyn Butler (Author) / Drost, Julia, 1969- (Author) / McAra, Catriona (Author) / Strange, Kristen (Author) / Cohen, Jennifer R. (Author) / Mesch, Claudia (Author)
Created2019
Description

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:

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.

ContributorsMesch, Claudia (Author) / Rushing III, W. Jackson (Author) / Greet, Michele M. (Author) / White, Mark A. (Author) / Modeen, Mary (Author) / Townsend-Gault, Charlotte (Author) / Silberman, Robert (Author) / List, Larry (Author)
Created2013
Description

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,

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.

ContributorsKavky, Samantha (Author) / Conley, Katharine (Author) / Zalman, Sandra (Author) / Mesch, Claudia (Author) / Jonsson, Hjorleifur (Author) / Taminiaux, Pierre (Author) / Aberth, Susan Louise (Author)
Created2012