The Dada & Surrealist Word-Image examines the fusing of words and images, its impact on traditional forms of art, and the issues it raises for today's modernist agenda.
The classic Photofile series brings together the best work of the world's greatest photographers in an attractive format and at a reasonable price. Handsome and collectible, the books each contain reproductions in color and/or duotone, plus a critical introduction and a bibliography. Paris in the early 1920s saw the growth of a new art form called surrealism. Both a formal movement and a spiritual orientation, surrealism embraced ethics and politics as well as the arts. Surrealists sought to create a medium that liberated the subconscious mind, and many artists and photographers captured this revolution through photographic images. This new survey includes works by Max Ernst, Dora Maar, Lee Miller, René Magritte, Meret Oppenheim, and more.
A stimulating introduction to the many debates surrounding the Dadaist and Surrealist movements, such as the Marquis de Sade's position as a Surrealist deity, attitudes towards the city, the impact of Freud, and attitudes towards women.
This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life. This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the Dada and Surrealist movements as responses to the advent of the cinema.
Visualizing Theory is a lavishly illustrated collection of provocative essays, occasional pieces, and dialogues that first appeared in Visual Anthropology Review between 1990 and 1994. It contains contributions from anthropologists, from cultural, literary and film critics and from image makers themselves. Reclaiming visual anthropology as a space for the critical representation of visual culture from the naive realist and exoticist inclinations that have beleaguered practitioners' efforts to date, Visualizing Theory is a major intervention into this growing field.
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 Poster: Art, Advertising, Design, and Collecting, 1860sÐ1900s is a cultural history that situates the poster at the crossroads of art, design, advertising, and collecting. Though international in scope, the book focuses especially on France and England. Ruth E. Iskin argues that the avant-garde poster and the original art print played an important role in the development of a modernist language of art in the 1890s, as well as in the adaptation of art to an era of mass media. She moreover contends that this new form of visual communication fundamentally redefined relations between word and image: poster designers embedded words within the graphic, rather than using images to illustrate a text. Posters had to function as effective advertising in the hectic environment of the urban street. Even though initially commissioned as advertisements, they were soon coveted by collectors. Iskin introduces readers to the late nineteenth-century ÒiconophileÓÑa new type of collector/curator/archivist who discovered in poster collecting an ephemeral archaeology of modernity. Bridging the separation between the fields of art, design, advertising, and collecting, IskinÕs insightful study proposes that the poster played a constitutive role in the modern culture of spectacle. This stunningly illustrated book will appeal to art historians and students of visual culture, as well as social and cultural history, media, design, and advertising.
In one of his sparkling aphorisms on the end of 'optical' art, Marcel Duchamp suggested that the title of an artwork was an 'invisible color'. John Welchman now offers the first critical history of how and why modern artworks receive their titles. He shows that titles were seldom produced and can rarely be understood outside of the institutional parameters that made them visible - exhibitions, criticism, catalogues, and even national politics.