ââågood Designã¢â❠Catalog 1952 Museum of Modern Art Archives New York

Cet article contient des illustrations cascade lesquelles nous due north'avons pas reçu d'autorisation de diffusion (en savoir plus)

Avant de procéder à toute mise en ligne, les responsables des revues sollicitent les auteurs d'articles et d'illustrations pour obtenir leurs autorisations. Dans cet article, la personne disposant des droits sur les illustrations a dû refuser la diffusion libre et gratuite de son travail. Nous avons donc apposé des masques permettant de dissimuler l'illustration (et donc de satisfaire la demande de l'ayant droit) et de laisser un accès libre au texte de l'commodity.

VARIA

Sandra Zalman

"The Fur-Lined Museum": Surrealism and the Museum of Modern Art in New York

Ever since Surrealism'southward introduction to American audiences in the mid-1930s, nearly prominently through the Fantastic Art, Dada, Surrealism exhibition organized past Alfred Barr at the Museum of Modern Art (MoMA) in 1936, disquisitional debates virtually Surrealism's aesthetic philosophy have emerged at decisive moments in the formulation of American artistic practice, its criticism and its history. However, the indelible relationship between Surrealism and American critical discourse has been merely superficially understood, if considered at all. This article analyzes the first stage of that interaction, which occurred before the more than familiar moment when European émigrés arrived in New York during World State of war Ii. In traditional histories of Surrealism, such as Maurice Nadeau's seminal Histoire du Surréalisme (1944), the movement is presented in terms of its practitioners. The more than recent Histoire du Mouvement Surréaliste (1997) acknowledges the importance of central exhibitions, but remains invested in the production, rather than the reception, of Surrealism's objects. Instead, the nowadays study is ane that focuses on the inconsistent and dynamic consumption, beginning with how Surrealism was understood by American audiences after it had been unmoored from the original intentions of its leader, the poet André Breton.

When Surrealism was introduced to America in the 1930s, in large part through Barr's exhibition, Information technology was captivated by an American public who had petty knowledge of Breton's philosophies, but understood Surrealism equally a visual program, fashionable because of psychoanalysis and the inclusive conception that the earth was fundamentally irrational. Surrealism was typically portrayed as psychological play, though politics often seemed to chimera beneath the surface. For the most part, Surrealism was divorced from its Marxist agenda and absorbed into popular culture every bit a playful diversion1, though I argue that at the same fourth dimension, it continued to resonate with contemporary American mores.

Fantastic Art, Dada, Surrealism (1936)

Though information technology was not the start testify of Surrealism in the U.S., the Fantastic Art, Dada, Surrealism exhibition that opened at the Museum of Modern Art in December 1936 marked the broadcasting of Surrealism to a wide audience in America2 (fig. 1 ) . Amidst 700 objects, Alfred Barr, the founding managing director of MoMA, presented Surrealism as a leading move in avant-garde art aslope cartoons by Walt Disney Productions and drawings by Insane Asylum patients. Barr'due south ambivalence about the nature and status of Surrealism was evident in the introduction he wrote to the catalogue, in which he stated that once Surrealism was "no longer a cockpit of controversy, it will doubtless exist seen as having produced a mass of mediocre pictures..., a fair number of fantabulous and enduring works of art, and even a few masterpieces3." Twelve years after, André Breton published the first Surrealist manifesto in Paris, Barr broadened Surrealism'southward purview by including works non only past Surrealists, but those that illustrated the fantastic and anti-rational fine art historical antecedents of Surrealism, ranging from the fifteenth to the twentieth century. Ostensibly to protect the integrity of the group, Paul Eluard wrote to Barr, asking that he concur to a number of points, the outset of which was not to include the works of other movements: "Information technology is essential that you lot commit formally [...]

HISTOIRE DE L'ART N°67 OCTOBRE 2010

155

leejohur1995.blogspot.com

Source: https://www.persee.fr/doc/hista_0992-2059_2010_num_67_1_3344

Share this post