Surrealism
From The Art and Popular Culture Encyclopedia
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| [[Feminists]] have in the past critiqued the Surrealist movement, claiming that it is fundamentally a male movement and a male fellowship, despite the occasional few celebrated woman Surrealist painters and poets. They believe that it adopts typical male attitudes toward women, such as worshipping them symbolically through stereotypes and sexist norms. Women are often made to represent higher values and transformed into objects of desire and of mystery. | [[Feminists]] have in the past critiqued the Surrealist movement, claiming that it is fundamentally a male movement and a male fellowship, despite the occasional few celebrated woman Surrealist painters and poets. They believe that it adopts typical male attitudes toward women, such as worshipping them symbolically through stereotypes and sexist norms. Women are often made to represent higher values and transformed into objects of desire and of mystery. | ||
| - | One of the pioneers in feminist critique of Surrealism was [[Xavière Gauthier]]. Her book ''Surréalisme et sexualité'' (1971) inspired further important scholarship related to the marginalization of women in relation to "the [[avant-garde]]." However these criticisms are perhaps more so of other avant-garde movements like [[Situationist International|Situationism]], where women had a much more subordinate role to the men. Also, despite the theoretical objectification, Surrealism as a living praxis allowed room for women artists and painters in particular to work and produce work on their own terms. | + | One of the pioneers in feminist critique of Surrealism was [[Xavière Gauthier]]. Her book ''[[Surréalisme et sexualité]]'' (1971) inspired further important scholarship related to the marginalization of women in relation to "the [[avant-garde]]." However these criticisms are perhaps more so of other avant-garde movements like [[Situationist International|Situationism]], where women had a much more subordinate role to the men. Also, despite the theoretical objectification, Surrealism as a living praxis allowed room for women artists and painters in particular to work and produce work on their own terms. |
| ===Freudian=== | ===Freudian=== | ||
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- What is Surrealism?, a 1934 lecture by André Breton.
Surrealism was a 20th century art and cultural movement that began in the mid-1920s in Europe, and is best known for the visual artworks and writings of the group members. The works feature the element of surprise, unexpected juxtapositions and non sequitur, however many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost with the works being an artefact, and leader André Breton was explicit in his assertion that Surrealism was above all a revolutionary movement. From the Dada activities of World War I Surrealism was formed with the most important center of the movement in Paris and from the 1920s spreading around the globe.
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Origin of the term
In May 1917, Guillaume Apollinaire coined the term "Surrealism" in the program notes describing the ballet Parade which was a collaborative work by Jean Cocteau, Erik Satie, Pablo Picasso and Léonide Massine:
- "From this new alliance, for until now stage sets and costumes on one side and choreography on the other had only a sham bond between them, there has come about, in Parade, a kind of super-realism ('sur-réalisme'), in which I see the starting point of a series of manifestations of this new spirit ('esprit nouveau')."
Bataillean vs Bretonian Surrealism
Breton was obviously the driving force behind surrealism, and he ran the movement in a dicatorial style, even expelling several of its members. Several of these ex-members started adhering to Georges Bataille's subversive "Bataillean" surrealism and the latter's journal Documents.
Criticism of Surrealism
Feminist
Feminists have in the past critiqued the Surrealist movement, claiming that it is fundamentally a male movement and a male fellowship, despite the occasional few celebrated woman Surrealist painters and poets. They believe that it adopts typical male attitudes toward women, such as worshipping them symbolically through stereotypes and sexist norms. Women are often made to represent higher values and transformed into objects of desire and of mystery.
One of the pioneers in feminist critique of Surrealism was Xavière Gauthier. Her book Surréalisme et sexualité (1971) inspired further important scholarship related to the marginalization of women in relation to "the avant-garde." However these criticisms are perhaps more so of other avant-garde movements like Situationism, where women had a much more subordinate role to the men. Also, despite the theoretical objectification, Surrealism as a living praxis allowed room for women artists and painters in particular to work and produce work on their own terms.
Freudian
Freud initiated the psychoanalytic critique of Surrealism with his remark that what interested him most about the Surrealists was not their unconscious but their conscious. His meaning was that the manifestations of and experiments with psychic automatism highlighted by Surrealists as the liberation of the unconscious were highly structured by ego activity, similar to the activities of the dream censorship in dreams, and that therefore it was in principle a mistake to regard Surrealist poems and other art works as direct manifestations of the unconscious, when they were indeed highly shaped and processed by the ego. In this view, the Surrealists may have been producing great works, but they were products of the conscious, not the unconscious mind, and they deceived themselves with regard to what they were doing with the unconscious. In psychoanalysis proper, the unconscious does not just express itself automatically but can only be uncovered through the analysis of resistance and transference in the psychoanalytic process.
Situationist
While some individuals and groups on the core and fringes of the Situationist International were Surrealists themselves, others were very critical of the movement, or indeed what remained of the movement in the late 1950s and '60s. The Situationist International could therefore be seen as a break and continuation of the Surrealist praxis.
See also
- Surrealism and comedy
- Impact of Surrealism
- Surrealism and theatre
- Sade's influence on Surrealism
- Timeline of surrealism and dada
- Surrealism and international politics
- Belgian surrealism
- International Surrealist Exhibition
- Surrealist groups
- Surrealism and film
- Surrealism (music)
- Surrealism in literature
- Surrealist photography
- Surrealist Manifesto
- The Waking Dream, surrealism avant la lettre in masterprints
- Sade / Surreal
- What is Surrealism?, a 1934 lecture by André Breton.
- Surréalisme et sexualité (1971) by Xavière Gauthier
