Relevant bibliographies by topics / Surrealist exhibitions

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Surrealist exhibitions'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Surrealist exhibitions"

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Hatch, David A. "BECKETT IN TRANSITION: , Little Magazines, and Post-War Parisian Aesthetic Debate." Samuel Beckett Today / Aujourd'hui 15, no. 1 (2005): 43–56. http://dx.doi.org/10.1163/18757405-015001007.

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fits into a larger dialogue on aesthetics that occurs in and around magazine following World War II. In the text Samuel Beckett and Georges Duthuit not only dismiss the modernist agenda established by Eugene Jolas in the previous transition journal, but they also critique discussions about contemporary art exhibitions and enter into the Jean-Paul Sartre/Surrealist debate.
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Floyd, Kathryn M. "Writing the Histories of Dada and Surrealist Exhibitions: Problems and Possibilities." Dada/Surrealism 21 (July 17, 2017): 1–19. http://dx.doi.org/10.17077/0084-9537.1327.

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Magnone, Lena. "„Księgi Justynine”. O biografii Justine Frank." Poznańskie Studia Polonistyczne. Seria Literacka, no. 35 (November 5, 2019): 237–51. http://dx.doi.org/10.14746/pspsl.2019.35.11.

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The article is devoted to the biography of Justine Frank (1900-1943), a marginalized member of the surrealist movement, a painter and writer who combined Judaism with pornography, a critic of the Zionist project who tragically died in Palestine. Written by an Israeli artist and an expert on the interwar avant-garde, Roee Rosen, it is not only an artistic provocation – a part of a larger experiment in the field of the so-called parafiction also including editions of Frank’s novel Sweet Sweat and exhibitions of her paintings – but also an interesting statement in the discussion on the possibilit
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Doroszuk, Hanna. "Applying the Avant-Garde: Display Experience in the Exhibition of Modern Art (1948)." Ikonotheka, no. 29 (September 16, 2020): 229–48. http://dx.doi.org/10.31338/2657-6015ik.29.9.

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The Exhibition of Modern Art (Wystawa Sztuki Nowoczesnej) organized in 1948 in the Palace of Art (Pałac Sztuki) in Cracow was one of the most prominent art events in Poland during the last century. It is considered one of the unprecedented moments in shaping the modernity. The exhibition was thought to be designed as a whole venture, integrating the modern art demonstration with the will to make it accessible to all the social groups. The desire of the authors was to endear the authorities, since the Stalinist repressions were approaching, and present the modern art as accessible to the societ
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Paniconi, Maria Elena. "Italian Futurism in Cairo." Philological Encounters 2, no. 1-2 (2017): 159–79. http://dx.doi.org/10.1163/24519197-00000019.

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Nelson Morpurgo was born to a Histrian family in Cairo. Raised between Cairo and Milan, he met Filippo Tommaso Marinetti and several other Futurists and, ultimately, helped secure a place for futurism in Cairo from the 1920s through to his departure in the 1940s. He organized theatrical performances, painting exhibitions, radio shows, cultural events and debates. My paper analyzes the cultural and linguistic bilingualism that this interstitial figure developed. Morpurgo’s activity is understood in three different ways: first, as the trans-national experience of a Futurist vanguard; second, as
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Bardaouil, Sam. "“Dirty Dark Loud and Hysteric”: The London and Paris Surrealist Exhibitions of the 1930s and the Exhibition Practices of the Art and Liberty Group in Cairo." "Wonderful Things":Surrealism and Egypt 19 (October 4, 2013): 1–24. http://dx.doi.org/10.17077/0084-9537.1273.

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MARTYNOVA, DARIA O. "“ELECTRIC PROTO-PERFORMANCE”: ENIGMARELLE THE AUTOMATON AT THE 1938 EXPOSITION INTERNATIONALE DU SURRÉALISME." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 151–70. http://dx.doi.org/10.30628/1994-9529-2021-17.2-151-170.

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The following article is based on a report presented at the Arts and Machine Civilization International Scientific Conference. The author analyzes publications related to Enigmarelle and automata in periodicals of the early twentieth century in order to identify the significance of Enigmarelle’s phenomenon at the 1938 International Exhibition of Surrealism. In the course of the study, it was concluded that Enigmarelle became a centerpiece of the opening, a kind of a wobbler that was intended for attraction and intriguing the public. Enigmarelle is a documented curiosity of the early twentieth
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Surman, David Gove. "Displaying the Marvelous: Marcel Duchamp, Salvador DalÍ, and the Surrealist Exhibitions by Lewis Kachur. MIT Press, Cambridge, MA, U.S.A., 2001. ISBN: 0-262-11256-6." Leonardo 35, no. 3 (2002): 340. http://dx.doi.org/10.1162/leon.2002.35.3.340a.

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Surman, David Gove. "Review: Displaying the Marvelous: Marcel Duchamp, Salvador DalI, and the Surrealist Exhibitions by Lewis Kachur . MIT Press , Cambridge, MA, U.S.A. , 2001 . ISBN: 0-262-11256-6 ." Leonardo 35, no. 3 (2002): 340. http://dx.doi.org/10.1162/leon.2002.35.3.340.

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W.P. Phillips, John, and Ma Shaoling. "Undercover Surrealism." Theory, Culture & Society 23, no. 7-8 (2006): 253–62. http://dx.doi.org/10.1177/0263276406073228.

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This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery (from May to July 2006) and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to represent both the sometimes incompatible interests of the journal’s
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Dissertations / Theses on the topic "Surrealist exhibitions"

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Godet, Marie. "Le poids du réel. Les surréalistes bruxellois et l'objet dans les années 1940." Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/241978.

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Cette thèse se propose d’étudier le surréalisme bruxellois durant les années 1940, à travers le prisme de l’objet. Les termes d’héritage, de poncif, de génération, d’avant-garde et de scandale en façonnent le cadre. Le poids des événements historiques s’y fait continuellement ressentir. Particulièrement peu unifiées sur le plan politique et artistique, les années 1940 sont synonymes d’intenses turbulences pour le surréalisme, officiellement lancé en 1924. Les jeunes poètes qui entament leur parcours à cette époque sont pratiquement nés au même moment que le mouvement dans lequel ils s’insèrent
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Selser, Jayne Marie. "Mystery in a Common Place: A Supporting Paper for a Graduate Exhibition." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0419101-125304/unrestricted/selser0427.pdf.

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Huang, Chieh-An, and 黃婕安. "The Aestheticization of Everyday Life and Surrealism: A Case Study of the 1938 International Surrealist Exhibition." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/tz2db6.

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碩士<br>國立臺灣師範大學<br>美術學系<br>105<br>Based on the standpoint of Critique of Everyday Life by Henri Lefebvre (1901-1991), this study regards the critique of everyday life as an integrated social reform and further explores how everyday life realizes the liberation of rigid modern life and the colonial economic system in a capitalist society by resetting the boundary between similarity and difference. Lefebvre argues that capitalism has made everyday life gradually characterized by alienation through various techniques. To lift the veil of alienation, setting “the total man” as the goal is necessar
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Jolles, Adam Daniel. "Curating Surrealism : the French avant-garde in exhibition, 1925-1938 /." 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3070178.

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Reed, Jennifer. "Reviewing the reviews interpreting the negative response to the blockbuster exhibition, "Surrealism: Desire Unbound" /." 2007. http://proquest.umi.com/pqdweb?did=1240709461&sid=1&Fmt=2&clientId=39334&RQT=309&VName=PQD.

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Thesis (M.A.)--State University of New York at Buffalo, 2007.<br>Title from PDF title page (viewed on July 06, 2007) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Otto, Elizabeth. Includes bibliographical references.
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Books on the topic "Surrealist exhibitions"

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Anne, Baldassari, and Fondation Beyeler, eds. The surrealist Picasso. Fondation Beyeler, 2005.

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Picasso, Pablo. The surrealist Picasso. Edited by Baldassari Anne and Fondation Beyeler. Fondation Beyeler, 2005.

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Kelly, Leon. Leon Kelly: American surrealist. Berry-Hill Galleries, 1999.

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1909-1994, Jakovits József, and QCC Art Gallery, eds. József Jakovits: Surrealist, primitivist, Kabalist. QCC Art Gallery Press, 2014.

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Stich, Sidra. Anxious visions: Surrealist art. University Art Museum, 1990.

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Stich, Sidra. Anxious visions: Surrealist art. Abbeville Press, 1990.

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Buck, Louisa. The surrealist spirit in Britain. Whitford and Hughes, 1988.

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Buck, Louisa. The Surrealist spirit in Britain. Whitford and Hughes, 1988.

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Baum, Timothy. Dada & surrealist objects. Blain Di Donna, 2013.

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Buck, Louisa. The Surrealist spirit in Britain. Whitford and Hughes, 1988.

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Book chapters on the topic "Surrealist exhibitions"

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Vives, Anna. "Planells’ Participation in Two Major Exhibitions." In Àngel Planells’ Art and the Surrealist Canon. Routledge, 2019. http://dx.doi.org/10.4324/9780429439605-4.

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Robertson, Eric. "A la dérive." In What Forms Can Do. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620658.003.0018.

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The notion of the formless found a lasting definition in Documents, the dissident Surrealist magazine led by Georges Bataille, Carl Einstein and Michel Leiris from 1929 to 1931. In an unassuming short entry for its ‘Dictionnaire’, Bataille presents the informe emphatically not as a system or a structure, but as ‘un terme servant à déclasser’; yet neither the disruptive impulse of the 'Dictionnaire', nor the more recent exhibitions it has generated, can avoid a measure of taxonomic organisation (L'Informe: mode d'emploi, 1996; Undercover Surrealism, 2006). In the realm of poetry, free verse has eroded the boundaries of the poetic, but its freedom from formal constraints is limited too; as Jay Parini (2008) contends, ‘formless poetry does not really exist, as poets inevitably create patterns in language that replicate forms of experience.’ Through a small number of case studies, this chapter will consider the legacy of Bataille’s definition while assessing the ongoing tension between form and its undoing in textual and visual art of the twenty-first century.
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King, James. "‘Let’s Do Something’ (1935–1936)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0006.

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This chapter details events in Roland Penrose's life from 1935 to 1936. In Paris, in June 1935, Roland and Paul Éluard chanced upon precocious, intense nineteen-year-old David Gascoyne, who had recently completed his Short Survey of Surrealism. Éluard introduced the two Englishmen, who ‘got talking’ about the fact that in London, little is known about the excitement going on in Paris [in contemporary art, especially surrealism]. They then decided to organise the International Surrealist Exhibition, which marked a decisive turn in Roland's life, in that he began to allow his role as an apostle of modernism to overshadow his career as an artist. For the remainder of his life, these two sides would struggle to co-exist.
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Bardaouil, Sam. "“Dirty Dark Loud and Hysteric”: The London and Paris Surrealist Exhibitions of the 1930s and the Exhibition Practices of the Art and Liberty Group in Cairo." In Dialogues artistiques avec les passés de l'Égypte. Publications de l’Institut national d’histoire de l’art, 2017. http://dx.doi.org/10.4000/books.inha.7205.

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Filipovic, Elena. "Surrealism in 1938: The Exhibition at War." In Surrealism, Politics and Culture. Routledge, 2020. http://dx.doi.org/10.4324/9781315197418-10.

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"The Edition as Exhibition: A Surrealist Retrospective, 1938." In Lautréamont, Subject to Interpretation. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789401212076_007.

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Moore, Daniel. "‘A transformed world’: Herbert Read, British Surrealism and the institutionalisation of modernism." In Insane Acquaintances. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.003.0005.

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This chapter focuses on the discourses that surrounded the 1936 International Surrealist exhibition in London and the development of a distinctly British Surrealist movement in the years leading up to the Second World War. Using the debates in the periodical press about the movement – and how it might represent a particularly English or British avant garde – this chapter articulates the connection between the movement’s leaders in Britain and the rise of institutional structures to encourage avant garde work in Britain. In particular, it sees Herbert Read as one of the key mediators of modernism in Britain, and ultimately the key driver for the institutionalisation of modernism in Britain in the years around the Second World War.
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Curtis, Cathy. "Jane Street." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0003.

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In 1944, Nell joined the Jane Street Gallery. Together with painters Leland Bell and Al Kresch, she transformed the pioneering artist-run cooperative into a home for a small group of abstract painters who took their cues from Mondrian. In 1945, her painting Blue Pieces was included in The Women, an exhibition of abstract and surrealist work by thirty women at the Art of This Century gallery. Her first solo Jane Street show elicited a rave review in ARTnews. In 1947, Clement Greenberg lauded Nell’s work in a review in The Nation. The following year, an exhibition of paintings by Bonnard at the Museum of Modern Art began to sway her toward a more personal approach. During this period, she was intimate with many men and women, but the special woman in her life was a dancer, Midi Garth, who would prove a loyal friend throughout her life.
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