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Journal articles on the topic 'Surrealist exhibitions'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Evans, Caroline. "Exhibition Review: Surreal Things: Surrealism and Design." Fashion Theory 12, no. 2 (2008): 237–44. http://dx.doi.org/10.2752/175174108x3000067.

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12

Miller, Sanda. "Exhibition Review: Surreal Things: Surrealism and Design." Fashion Theory 12, no. 2 (2008): 245–51. http://dx.doi.org/10.2752/175174108x300120.

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13

., I. Komang Wikrama, Drs I. Ketut Supir, M. Hum ., and Drs I. Nyoman Sila,M Hum . "PROFIL PELUKIS NUSA PENIDA." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (2017): 121. http://dx.doi.org/10.23887/jjpsp.v7i2.11454.

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Penelitian ini bertujuan untuk (1) mendeskripsikan biografi pelukis Nusa Penida, (2) mendeskripsikan konsep berkarya pelukis Nusa Penida, (3) mendeskripsikan tema dan gaya karya pelukis Nusa Penida. Sumber data berasal dari hasil observasi, wawancara langsung kepada pelukis Nusa Penida dan praktisi seni, dokumentasi, buku, katalog pameran dan koran. Hasil temuan dalam penelitian ini adalah: 1) biografi pelukis Nusa Penida meliputi, I Made Sumerta, pelukis yang menetap di Nusa Penida, lahir di Nusa Penida, 28 September 1974, I Putu Sudiana, pelukis yang menetap di luar Nusa Penida, lahir di Nus

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14

Walden, Lauren. "British Museum Ethnographic Photography at the 1936 International Surrealist Exhibition." Visual Resources 36, no. 1 (2019): 43–69. http://dx.doi.org/10.1080/01973762.2020.1672358.

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15

Tashjian, Dickran. "Displaying the Marvelous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations (review)." Modernism/modernity 9, no. 1 (2002): 193–94. http://dx.doi.org/10.1353/mod.2002.0019.

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16

Rudenko, Oleh. "The importance of «interprint» in the development of Ukrainian graphics." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 60–65. http://dx.doi.org/10.33838/naoma.29.2020.60-65.

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The article studies Ukrainian graphic art of the late twentieth century, undergoing changes caused by political events in Eastern Europe. Two iconic exhibitions became the turning point for native art as they revealed the Ukrainian graphic arts, and broke through the "iron" curtain of the totalitarian regime. The ideological seclusion of the USSR focused solely on the themes celebrating the life of a happy worker, peasant, or intellectual, did not let the works of another content to be displayed in public. Moreover, all areas of art creativity were controlled by the Union of Artists of Ukraine

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17

Forcer, Stephen. "The Curatorial Avant-Garde: Surrealism and Exhibition Practice in France, 1925–1941." French Studies 69, no. 3 (2015): 418.2–419. http://dx.doi.org/10.1093/fs/knv107.

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18

Mileaf, Janine. "Body to Politics: Surrealist Exhibition of the Tribal and the Modern at the Anti-Imperialist Exhibition and the Galerie Charles Ratton." Res: Anthropology and aesthetics 40 (September 2001): 239–55. http://dx.doi.org/10.1086/resv40n1ms20167548.

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19

Cruz Porchini, Dafne, and Adriana Ortega Orozco. "The 1940 International Exhibition of Surrealism: A Cosmopolitan Art Dialogue in Mexico City." Dada/Surrealism 21 (July 17, 2017): 1–23. http://dx.doi.org/10.17077/0084-9537.1329.

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20

Sweeney, Carole. "‘Le tour du monde en quatre jours’: empire, exhibition, and the surrealist disorder of things." Textual Practice 19, no. 1 (2005): 131–47. http://dx.doi.org/10.1080/0950236042000329681.

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21

Ippolito, Christophe. "La couleur rouge et sa valeur pathétique dans l’expressionnisme abstrait et le surréalisme tardif." Lublin Studies in Modern Languages and Literature 44, no. 2 (2020): 133. http://dx.doi.org/10.17951/lsmll.2020.44.2.133-143.

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This essay analyses the dialogue between automatism and late surrealism on the color red, with a focus on the intensity shared by painting and literature. The starting point is a collective prose poem by André Breton, Élisa Breton, and Benjamin Péret. This poem, « Riopelle », written for an exhibition of Jean-Paul Riopelle’s automatist paintings in 1949, is included in Breton’s <em>Le</em> <em>Surréalisme et la peinture</em>.<p><br /><em></em></p>

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22

Vlieghere, Dieter De. "Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943)." Journal of Curatorial Studies 10, no. 1 (2021): 2–25. http://dx.doi.org/10.1386/jcs_00029_1.

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Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, s

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23

Gaughan, Catherine. "The Curatorial Avant-Garde: Surrealism and Exhibition Practice in France, 1925–1941 par by Adam Jolles." French Review 89, no. 2 (2015): 248. http://dx.doi.org/10.1353/tfr.2015.0063.

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24

Fedotova, E. D. "Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.

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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the interna

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25

Yartseva, O. A. "Коллекция Пегги Гуггенхайм". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.

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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the interna

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26

Queluz, Marilda Lopes Pinheiro. "Narrativas históricas e representações de identidade nos quadrinhos O que é o Brasil (2005)." REVISTA INTERSABERES 15, no. 36 (2020): 963–87. http://dx.doi.org/10.22169/revint.v15i36.2013.

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RESUMO Este artigo pretende refletir sobre as narrativas históricas e as construções de identidade brasileira presentes no livro/catálogo O que é o Brasil, de uma exposição homônima, realizada no Senac São Paulo, no período de 12 de julho a 13 de agosto de 2005. Trata-se de uma coletânea com 52 histórias em quadrinhos de uma página, compondo um complexo mosaico em torno de assuntos imbuídos de “brasilidade”. Neste texto foram selecionados os temas mais diretamente ligados à representação das relações cotidianas e da história do país, ressaltando alguns dos símbolos tidos como emblemáticos de n

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27

Cruzeiro, Cristina Pratas. "The image of the dictatorship in perspective: the photographs from Fernando Lemos between 1949 and 1954." PORTO ARTE: Revista de Artes Visuais 22, no. 36 (2017): 63. http://dx.doi.org/10.22456/2179-8001.80110.

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From the photographic productions from Fernando Lemos between 1949 and 1952 in Portugal and between 1953 and 1954 in Brazil, this article aims to reflect on the imagery carried out by the artist when he left Portugal in face of the one produced in Brazil in the years immediately posthumous to his arrival. Fernando Lemos left for Brazil in 1953, exhibiting his work at the Museum of Modern Art of São Paulo and, in 1954, at the Museum of Modern Art of Rio de Janeiro – where he showcased part of the extensive photographic production he produced in Portugal. The imagery language of these photograph

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28

Hassan, Salah M. "Ahmed Morsi." Nka Journal of Contemporary African Art 2020, no. 47 (2020): 22–43. http://dx.doi.org/10.1215/10757163-8719616.

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Born in Alexandria, Egypt, in 1930, Ahmed Morsi is a multitalented artist who seamlessly moves between different genres and modes of creative expression. A brilliant painter, an eloquent poet, and a sharp art and literary critic whose career has spanned more than seven decades, his work has been enriched by the experience of living in three continents. While Morsi’s oeuvre is the embodiment of polyphony, a unifying force that defies any singular reading is the surrealist spirit that permeates his work across different mediums. The retrospective Ahmed Morsi: A Dialogic Imagination, held at the

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29

Monroe, John Warne. "Jolles, AdamThe Curatorial Avant-Garde: Surrealism and Exhibition Practice in France, 1925–1941University Park: Pennsylvania State University Press270 pp., $35.00 ISBN 978-0-8014-5055-6Publication Date: April 2013." History: Reviews of New Books 44, no. 2 (2016): 48. http://dx.doi.org/10.1080/03612759.2016.1088776.

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30

Wango, Kamau. "‘The Soul of my Sculptures’ - A Contemplative Analysis of The Work of Naftal Mageto Momanyi." East African Journal of Arts and Social Sciences 2, no. 1 (2020): 116–33. http://dx.doi.org/10.37284/eajass.2.1.218.

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Despite the significant resurgence of expressive creativity through works of art in various disciplines particularly painting and sculpture, the underlying inspiration and subsequent endeavour for self-expression by artists, be it derived from experiences, observation of events and occurrences, imaginative compositions or even from the subconscious mind or surrealism, is often not very well articulated among the artistic audience or general public. This is in view of the general consensus among creative artists that works of Art are composed or created to be inherently expressive of something

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31

Garcés García, María Pilar. "Edouard Mesens, a Belgian forefather of the surreal movement in London 1936." Thélème. Revista Complutense de Estudios Franceses 34, no. 1 (2019). http://dx.doi.org/10.5209/thel.61063.

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The article presents the birth and the origins of English surrealism. Hardly studied from its beginnings, its incipient manifestations began with the exhibitions and manifestations organized in London by the Belgian gallerist and writer Édouard Mesens, acquiring afterwards, insular and specific connotations through the work of surrealist English and Welsh artists and writers in the interwar period. Roland Penrose, Eileen Agar, Paul Nash, David Gascoyne, Humphrey Jennings, among others, consider that Paris is the cradle of the highest and most revolutionary manifestations of art in all its form

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32

Latham, William, Stephen Todd, Peter Todd, and Lance Putnam. "Exhibiting Mutator VR: Procedural Art Evolves to Virtual Reality." Leonardo, November 8, 2019, 1–14. http://dx.doi.org/10.1162/leon_a_01857.

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Organic Art (1987) was reincarnated as Mutator2 (2013) which evolved into Mutator VR: Mutation Space (2016). We describe the graphics and audio systems, particularly the procedural generation and visual effects, and their creative exploitation as an art installation. Mixed “real” and “unreal” features and effects, inspired by Surrealist art, create highly immersive psychedelic organic experiences. Interface simplicity and discoverability is critical for VR exhibitions; as is the balance between an experience constrained by artist's choices and a freer (but riskier) one with greater public choi

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33

"BIOMORPHIC FORMS IN SURREALIST STATUES EXHIBITED IN PUBLIC SPACE." Idil Journal of Art and Language 10, no. 82 (2021). http://dx.doi.org/10.7816/idil-10-82-02.

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In this study, the sculpture samples of the artists mentioned in the Surrealism movement, which were evaluated in the biomorphic wing of the Surrealist sculpture and especially exhibited in the public space, were examined. With the Surrealist manifesto published by Andre Breton in 1924, artists began to produce works with an approach that prioritized automatism, dreams, fantasies, and ambitions instead of progressing with reason and logic. The movement first showed itself in poetry, and it’s followed with the presence in the art of painting and later in the art of sculpture. In the surrealist

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34

Le Bot, Guillaume. "Adam Jolles, The Curatorial Avant-Garde: Surrealism and Exhibition." Critique d’art, November 28, 2014. http://dx.doi.org/10.4000/critiquedart.15558.

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35

"Displaying the marvelous: Marcel Duchamp, Salvador Dali, and surrealist exhibition installations." Choice Reviews Online 39, no. 05 (2002): 39–2586. http://dx.doi.org/10.5860/choice.39-2586.

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36

Parfentyeva, Natalia, and Nikolai Parfentyev. "Rembrandt’s Danaë as Perceived by Russian Postmodern Artists." Quaestio Rossica 8, no. 3 (2020). http://dx.doi.org/10.15826/qr.2020.3.502.

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This article considers works of contemporary artists inspired by Rembrandt’s Danaë (1636). The article’s purpose is to reveal the authors’ approaches to the perception of Rembrandt’s masterpiece and the representation of the well-known image in modern art. Paintings found at the exhibition In Memory of a Masterpiece (Chelyabinsk, 2006) are studied in the context of postmodern tendencies. Temporal, spatial, stylistic, cultural, and symbolic layers in works devoted to Danaë not only coexist and interact but are also presented with maximum irony, which is studied in the article through the prism

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37

Mudie, Ella. "Unbuilding the City: Writing Demolition." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1219.

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IntroductionUtopian and forward looking in tenor, official narratives of urban renewal and development implicitly promote normative ideals of progress and necessary civic improvement. Yet an underlying condition of such renewal is frequently the very opposite of building: the demolition of existing urban fabric. Taking as its starting point the large-scale demolition of buildings proposed for the NSW Government’s Sydney Metro rail project, this article interrogates the role of literary treatments of demolition in mediating complex, and often contradictory, responses to transformations of the b

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38

Tofts, Darren, and Lisa Gye. "Cool Beats and Timely Accents." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.632.

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Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” tha

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Cham, Karen, and Jeffrey Johnson. "Complexity Theory." M/C Journal 10, no. 3 (2007). http://dx.doi.org/10.5204/mcj.2672.

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   Complex systems are an invention of the universe. It is not at all clear that science has an a priori primacy claim to the study of complex systems. (Galanter 5) Introduction In popular dialogues, describing a system as “complex” is often the point of resignation, inferring that the system cannot be sufficiently described, predicted nor managed. Transport networks, management infrastructure and supply chain logistics are all often described in this way. In socio-cultural terms “complex” is used to describe those humanistic systems that are “intricate, involved, complicated

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