Undercover Surrealism: Georges Bataille and Documents
An exploration of the unsettling collisions of art and culture in Georges Bataille's revolutionary journal and a new consideration of twentieth-century masterpieces by Picasso, Miró, Dalí, and others against the canvas of their renegade times.
In the Paris art world of the 1920s, Georges Bataille and his journal DOCUMENTS represented a dissident branch of surrealism. Bataille--poet, philosopher, writer, and self-styled "enemy within" surrealism--used DOCUMENTS to put art into violent confrontation with popular culture, ethnography, film, and archaeology. Undercover Surrealism, taking the visual richness of DOCUMENTS as its starting point, recovers the explosive and vital intellectual context of works by Picasso, Dalí, Miró, Giacometti, and others in 1920s Paris. Featuring 180 color images and translations of original texts from DOCUMENTS accompanied by essays and shorter descriptive texts, Undercover Surrealism recreates and recontextualizes Bataille's still unsettling approach to culture. Putting Picasso's Three Dancers back into its original context of sex, sacrifice, and violence, for example, then juxtaposing it with images of gang wars, tribal masks, voodoo ritual, Hollywood musicals, and jazz, makes the urgency and excitement of Bataille's radical ideas startlingly vivid to a twenty-first-century reader. Copublished by Hayward Gallery Publishing, London
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This position contrasts with more progressive attitudes exemplified by Nancy
Cunard's book Negro (published in 1934, but underway by 1931) and with
surrealist and communist calls for political emancipation. Despite the temptation
Sociologie, Philosophie Published from June 1936 June 1939 (5 issues)
Faesimile published by Jean-Michel Place. Paris Private collection, London 144 (
p. 14) Cahier d'Art iďssuc 8. 1928; issues 8-9, 1 929) Published from January
1926 i960 ...
1947 New version with 6 aquatints by Hans Bellmer 1902-75 No. 3 of an edition
of 199. published by *K' editcur. Paris Scottish National Gallery of Modern Art.
Edinburgh. Penrose collection GMAA35/2/RPL1/0109. and Simon and
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Art historian Ades, the author of several books on Surrealism and Dadaism, and Baker (art history, Univ. of Nottingham), a member of the editorial group of theOxford Art Journal , here tell the story ... Volledige review lezen