Table of Contents

1. Cover
2. Title Page
3. List of Figures
4. Editor
5. Notes on Contributors
6. Acknowledgments
7. Introduction
   1. Historiography
   2. Avant-Garde/Subculture
   3. Recent Research Trends
   4. This Book, its Aims and Structure
   5. References
   6. Further Reading
8. Part I: Histories/Geographies
   1. 1 Dada’s Genesis
      1. Cubism, Futurism, Expressionism
      2. The First “Public” Dada Evening
      3. Collection Dada
      4. Galerie Dada
      5. Dada
      6. “Scandal” at the Eighth Dada Soirée
      7. Dada and Exile
      8. References
      9. Further Reading
   2. 2 Neue Jugend
      1. References
      2. Further Reading
   3. 3 Dada Migrations
      1. References
   4. 4 New York Dada
      1. Constructing New York Dada
      2. Machines
      3. Masculinism, Feminism, Group Formation
      4. Readymades
      5. References
      6. Further Reading
   5. 5 Nothing, Ventured
      1. Some Events
      2. Political Poetics
      3. Language
      4. The image, the object
      5. Farewells
      6. Into Surrealism
      7. Surrealism and Painting
      8. References
      9. Further Reading
   6. 6 Surrealism and the Question of Politics, 1925–1939
      1. The Surrealist Revolution
      2. The Crisis of 1929
      3. Dissent and Politics
      4. Surrealism in the Service of the Revolution
      5. The Surrealists Break with the PCF
      6. Towards an Independent Revolutionary Art
      7. References
   7. 7 “Other” Surrealisms
      1. Acknowledgment
      2. References
      3. Further Reading
   8. 8 Dada and Surrealism in Japan
      1. References
      2. Further Reading
   9. 9 Dada and Surrealism in Central and Eastern Europe
      1. New Maps of Dada and Surrealism
      2. East of Dada
      3. Reception of Surrealism across Central and Eastern Europe
      4. The Impossible: Serbian Surrealism
      5. A Great Black Silence: Surrealism in Romania
      6. Against the Current: Surrealism in Czechoslovakia
      7. References
   10. 10 Surrealism in Latin America
       1. Author’s Note
       2. References
9. Part II: Themes and Interpretations
   1. 11 Dissemination
      1. Introducing and Promoting Dada and Surrealism
      2. Visual Cues: Graphic Design
      3. Dialogue, Debate, and Dispute
      4. The Journal Network
      5. References
      6. Further Reading
   2. 12 Artists into Curators
      1. References
   3. 13 Dada and Surrealist Poetics
      1. Dada Begins
      2. Dada’s Meaningful Nonsense
      3. The Laws of Chance: Between Dada and Surrealism
      4. L’amour Fou
      5. Coda
      6. References
      7. Further Reading
   4. 14 Chance and Automatism
      1. Dehumanization and Hybridity in Dada Chance
      2. Surrealist Automatism and Objective Chance: World War I, Death, Telecommunication
      3. References
      4. Further Reading
   5. 15 Crime/Insurrection
      1. References
   6. 16 Re-enchantment
      1. Childhood
      2. Toys
      3. Cornell and the Question of Pedophilia
      4. Nostalgia and the Outmoded
      5. The Art of Memory
      6. References
      7. Further Reading
   7. 17 Surrealism and Natural History
      1. “A Feeling for Nature”
      2. The Surrealist as Naturalist
      3. The Marvelous
      4. Roger Caillois, Surrealist Hermeneutics, and the “Demon of Analogy”
      5. The Praying Mantis: Entomology and Surrealist Method
      6. References
      7. Further Reading
   8. 18 The Surrealist Collection
      1. References
   9. 19 The Ethnographic Turn
      1. References
   10. 20 Desire Bound
       1. Sade in Chains
       2. Surrealism’s Sade
       3. Desire is a Strange Thing
       4. Visualizing Sadism?
       5. References
       6. Further Reading
   11. 21 Equivocal Gender: Dada/Surrealism and Sexual Politics between the Wars
       1. References
   12. 22 Feminist Interventions: Revising the Canon
       1. Feminist Revisions of Women in Dada and Surrealism
       2. Gloria Orenstein’s “The Women of Surrealism
       3. Dada, Surrealism, and their Heritage?
       4. Women Artists across Dada and Surrealism
       5. References
10. Part III: Continuations/Aftermaths
    1. 23 The Surrealist Movement since the 1940s
       1. The Reception of Postwar Surrealism
       2. The Untimely
       3. Postwar Surrealist Formations
       4. The Contribution of Postwar Surrealism
       5. Acknowledgments
       6. References
    2. 24 Dada, Surrealism and their Heritage? The North American Reception of Dada and Surrealism
       1. A Contested Heritage
       2. Eros and the Eccentric Tradition
       3. Queer Intruders in the Enchanter’s Domain
       4. Dreams that Money Can Buy
       5. Out of Time: Surrealist Anachronism
       6. References
       7. Further Reading
    3. 25 Surrealism and Counterculture
       1. CoBrA
       2. Lettrism and the Situationist International
       3. References
       4. Further Reading
    4. 26 Assimilation
       1. Spellbound in Wackyland
       2. Material Objects
       3. Materialist Objectives
       4. In Fashion
       5. Conclusions
       6. References
    5. 27 Sightings
       1. The Totality Turn, or Surrealism after “Surrealism Without the Unconscious”
       2. Dial H-I-S-T-O-R-Y: A Message about the Melancholy of Geopolitics
       3. Popular Unrest: A Message about the Melancholy of Biopolitics
       4. Distances Lost: Political Terror, Knowledge Production and the (Syn)Thesis of Awakening
       5. References
       6. Further Reading
11. Index
12. End User License Agreement

List of Illustrations

1. Chapter 03
   1. Figure 3.1 Poster advertising Kurt Schwitters and Raoul Hausmann, Anti-Dada performance, Prague, 6 and 7 September, 1921, Hannah Hoech Archive, Berlinische Galerie, Berlin.
2. Chapter 04
   1. Figure 4.1 Alfred Stieglitz: Photograph of Fountain by Marcel Duchamp, 1917. Gelatin silver print. Succession Marcel Duchamp, Villiers-sous-Grez, France.
3. Chapter 05
   1. Figure 5.1 Francis Picabia: Portrait de l’auteur par lui-même, from Francis Picabia: Unique Eunuque, Paris, Au Sans Pareil, collection Dada, 1920.
   2. Figure 5.2 Joan Miró, Le Baiser (The Kiss), 1924, oil on canvas, 73 × 92 cm/28 7/10 × 36 1/5 in, 1924. New York, collection José Mugrabi.
4. Chapter 06
   1. Figure 6.1 Jacques-André Boiffard, The Humanité Bookshop, illustration in André Breton, Nadja (Paris: Gallimard, 1928), Plate 17, p. 77.
   2. Figure 6.2 Display of African and Oceanic tribal art organized by Louis Aragon, Paul Éluard, and Yves Tanguy at The Truth About the Colonies exhibition, Paris, 1931. The caption attributed to Karl Marx reads: “A nation that oppresses other people cannot be free.”
5. Chapter 08
   1. Figure 8.1 Kitawaki, Noboru. “Kaijō he: Koki” (To The Sea: Curiosity), from the series Urashima Monogatari (The Legend of Taro Urashima). 1937. Oil on canvas. 46 × 55 cm.
   2. Figure 8.2 Maeda, Toshiro. Karuwazashi (Acrobat). c.1930. Linocut on paper. 71.0 × 45.0 cm.
6. Chapter 09
   1. Figure 9.1 Analogon, no. 66, 2012. Cover image by Jan Daňhel. Sdruženi Analogonu, Prague.
7. Chapter 10
   1. Figure 10.1 César Moro, Untitled (collage–poem) April 1935. César Moro papers, The Getty Research Institute, Los Angeles (980029).
   2. Figure 10.2 Cover of Cero, no. 7/8, August 1967, Buenos Aires.
8. Chapter 14
   1. Figure 14.1 Francis Picabia. Alarm Clock, 1919. Ink on paper, 318 × 230 mm. © 2015 Artists Rights Society (ARS), New York/ADAGP, Paris.
   2. Figure 14.2 Man Ray, Waking Dream Séance, 1924. Surrealist group with Max Morise, Roger Vitrac, Jacques Boiffard, André Breton, Paul Eluard, Pierre Naville, Giorgio de Chirico, Philippe Soupault, Simone Collinet-Breton, Robert Desnos, and Jacques Baron. © Man Ray Trust/Artists Rights Society (ARS), NY/ADAGP, Paris, 2015.
9. Chapter 16
   1. Figure 16.1 Hans Bellmer: Personal Museum, c. 1938–1970. Box, mixed materials. Collection of Bihi-Bellmer, Paris.
   2. Figure 16.2 Max Ernst: Vox Angelica. Oil on Canvas, 1943. 60 × 79 in. Private Collection.
10. Chapter 17
    1. Figure 17.1 Mantis. Photograph reproduced in the English translation of Caillois’ book The Necessity of the Mind. Attributed to Edward S. Ross of the California Academy of Sciences.
11. Chapter 18
    1. Figure 18.1 André Breton in his studio, 42, rue Fontaine. June 1965. Sabine Weiss.
    2. Figure 18.2 The Surrealist Map of the World, Variétés (Brussels), June 1929.
    3. Figure 18.3 André Breton, Untitled, January 18, 1937-2, Lindy and Edwin Bergman Collection, Art Institute of Chicago‥
12. Chapter 20
    1. Figure 20.1 Meret Oppenheim. Ma gouvernante – my nurse – mein Kindermädchen, 1936, shoes, paper, string, oval platter, 14 × 33 × 21 cm, 1936/1967, Moderna Museet, Stockholm‥
13. Chapter 21
    1. Figure 21.1 Man Ray, Marcel Duchamp as Rrose Sélavy, c.1921. copyright holder: Man Ray Trust; collection: Philadelphia Museum of Art.
    2. Figure 21.2 Claude Cahun and Marcel Moore, Untitled, c.1921. Richard and Ronay Menschel Collection‥
14. Chapter 24
    1. Figure 24.1 Henri Glaeser, Installation view of Exposition Internationale du Surréalisme “EROS,” Galerie Daniel Cordier, Paris, 1960.
15. Chapter 25
    1. Figure 25.1 Asger Jorn, The Avant-Garde Doesn’t Give Up, 1962. Defiguration. Oil on canvas, 73 × 60 cm. Pierre Alechinsky, France.

Guide

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