HART3712W: Surrealism

This excellent overview of new research on Dada and Surrealism blends expert synthesis of the latest scholarship with completely new research, offering historical coverage as well as in-depth discussion of thematic areas ranging from criminality to gender. This book provides an excellent overview of new research on Dada and Surrealism from some of the finest established and up-and-coming scholars in the field Offers historical coverage as well as in-depth discussion of thematic areas ranging from criminality to gender One of the first studies to produce global coverage of the two movements, it also includes a section dealing with the critical and cultural aftermath of Dada and Surrealism in the later twentieth century Dada and Surrealism are arguably the most popular areas of modern art, both in the academic and public spheres

The avant-garde movements of Dada and Surrealism continue to have a huge influence on cultural practice, especially in contemporary art, with its obsession with sexuality, fetishism, and shock tactics. In this new treatment of the subject, Hopkins focuses on the many debates surrounding these movements: the Marquis de Sade's Surrealist deification, issues of quality (How good is Dali?), the idea of the 'readymade', attitudes towards the city, the impact of Freud, attitudes to women, fetishism, and primitivism. The international nature of these movements is examined, covering the cities of Zurich, New York, Berlin, Cologne, Barcelona, Paris, London, and recently discovered examples in Eastern Europe. Hopkins explores the huge range of media employed by both Dada and Surrealism (collage, painting, found objects, performance art, photography, film) , whilst at the same time establishing the aesthetic differences between the movements. He also examines the Dadaist obsession with the body-as-mechanism in relation to the Surrealists' return to the fetishized/eroticized body.

Surrealism was a broad movement, which attracted many adherents. It was organized and quite strictly disciplined, at least until the death of its leader, AndrZ Breton, in 1966. As a consequence, its membership was in a constant state of flux: persons were constantly being admitted and excluded, and often the latter continued to regard themselves as Surrealists. The wide-ranging nature of the Surrealist movement was spread over many countries and many different art forms, including painting, sculpture, cinema, photography, music, theater, and literature, most notably poetry. The Historical Dictionary of Surrealism relates the history of this movement through a chronology, an introductory essay, a bibliography, and over 600 cross-referenced dictionary entries on persons, circles, and groups who participated in the movement; a global entry on some of the journals and reviews they produced; and a sampling of major works of art, cinema, and literature.

David Bate examines automatism and the photographic image, the Surrealist passion for insanity, ambivalent use of Orientalism, use of Sadean philosophy and the effect of fascism of the Surrealists. The book is illustrated wtih a wide range of surrealist photographs.

"In The Rise of Surrealism, Williard Bohn examines the various literary and artistic developments that prepared the way for the international Surrealist movement - including Cubism, Metaphysical Art, and Dada - as well as the triumph of Surrealism itself. In an analysis that spans the first two-thirds of the twentieth century, Bohn surveys writers and artists from France, Italy, Germany, Spain, Argentina, Mexico, Chile, and the United States, examining both their aversion to mimesis and the solutions they devised to replace it. Much of the book is concerned with competing artistic models and with different strategies for creating avant-garde works, and focuses on such figures as Guillaume Apollinaire, Max Weber, Marius de Zayas, Francis Picabia, Giorgio de Chirico, Andre Breton, J.V. Foix, and Joan Miro. The dynamics of the imagery that painters and poets chose to employ and the new roles this imagery assumed in their compositions are also discussed."--Jacket.

Emerging from the disruption of the First World War, surrealism confronted the resulting 'crisis of consciousness' in a way that was arguably more profound than any other cultural movement of the time. The past few decades have seen an expansion of interest in surrealist writers, whose contribution to the history of ideas in the twentieth-century is only now being recognised. Surrealism: Key Concepts is the first book in English to present an overview of surrealism through the central ideas motivating the popular movement. An international team of contributors provide an accessible examination of the key concepts, emphasising their relevance to current debates in social and cultural theory. This book will be an invaluable guide for students studying a range of disciplines, including Philosophy, Anthropology, Sociology and Cultural Studies, and anyone who wishes to engage critically with surrealism for the first time. Contributors: Dawn Ades, Joyce Cheng, Jonathan P. Eburne, Krzysztof Fijalkowski, Guy Girard, Raihan Kadri, Michael Löwy, Jean-Michel Rabaté, Michael Richardson, Donna Roberts, Bertrand Schmitt, Georges Sebbag, Raymond Spiteri, and Michael Stone-Richards.

Art and writings by Surrealist painters and poets from a wide range of countries. In 1951 Robert Motherwell published a collection of writings called The Dada Painters and Poets: An Anthology. Conceived as a sequel to that volume, Surrealist Painters and Poets: An Anthology does for Surrealism what Motherwell's book did for Dadaism. The concept and contents were discussed with Robert Motherwell and met with his enthusiastic approval. The essays, manifestos, poems, and texts in this anthology offer a composite picture of the Surrealists--their convictions, styles, and spirit--from the movement's beginnings in France just after World War I to its second flowering in America after World War II. The book includes writers and artists from Belgium, Chile, Czechoslovakia, Cuba, Egypt, England, France, Germany, Guyana, Italy, Martinique, Mauritius, Mexico, Spain, Switzerland, Senegal, Uruguay, and the United States. Caws's main criterion for inclusion was that the works be the best and most representative of the different forms of Surrealism. Among others, the artists and writers include Andre Breton, Marcel Duchamp and Rrose Selavy, Max Ernst, Mina Loy, Francis Picabia, and Tristan Tzara.

Surrealist Women displays the range and significance of women's contributions to surrealism. Penelope Rosemont, affiliated with the Paris Surrealist Group in the 1960s and now a Chicago poet and painter, has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. She opens the book with a succinct summary of surrealism's basic aims and principles, followed by a discussion of the place of gender in the origins of the movement.The texts are organised into historical periods ranging from the 1920s to the present, with introductions describing trends in the movement for each period; and each surrealist's work is prefaced by a brief biographical statement. Authors include El Allailly, Bruna, Cunard, Carrington, Cesaire, Gauthier, Giovanna, van Hirtum, Kahlo, Levy, Mansour, Mitrani, Pailthorpe, Joyce Peters, Rahon, Svankmajerova, Taub, Zangana