Robert Rauschenberg and Surrealism Art, 'Sensibility' and War
Produktdetaljer
Biografisk notat
Gavin Parkinson is Professor of European Modernism, The Courtauld Institute of Art, UK.
Parkinsonâs expansive study opens up poetic, allusive, and sometimes political layers in Rauschenberg âs works, unearthing important responses from Parisian critics and writers. This approach unexpectedly establishes Rauschenbergâs Surrealist inflected roots, whilst contributing to the recent wave of expanded consideration of post-war, later Surrealism.
Lewis Kachur, author of Displaying the Marvellous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations (2001), and Professor of Art History, Kean University, USA
With remarkable precision, thoroughness, and generative energy, Parkinsonâs book offers an authoritative account of the French surrealist reception of Rauschenbergâs work in the 1960s. Analysing little-known and untranslated texts, Parkinson shows just how enmeshed the aesthetic and political registers were for these writers and artists.
Edward Krcma, Associate Professor of Art History, Department of Art History and World Art Studies, University of East Anglia, UK
This impressive book is more than a study on Rauschenberg and Surrealism, more specifically on the largely unnoticed or forgotten link between them. It is also a reflection on the way we write art history today, as a strange mix of theory, thoroughly documented archival research and, above all, an obsession with linear periodization.
- Jan Baetens, Leonardo Reviews
The art of Robert Rauschenberg (1925-2008) is usually viewed as quite distinct from Surrealism, a movement which the artist himself displayed some hostility towards. However, Rauschenberg had a very positive reception among Surrealists, particularly across the period 1959-69.
In the face of Rauschenbergâs avowals of his own âliteralismâ and insistence on his art as âfacts,â this book gathers generous evidence of the poetic, metaphorical, allusive, associative and connotative dimensions of the artist's oeuvre as identified by Surrealists, and thus extrapolates new readings from Rauschenberg's key works on that basis. By viewing Rauschenbergâs art against the expansion of the cultural influence of the United States in Europe in the period after the Second World War and the increasingly politicized activities of the Surrealists in the era of the Algerian War of Independence (1954-62), Robert Rauschenberg and Surrealism shows how poetic inference of the artistâs work was turned towards political interpretation. By analysing Rauschenbergâs art in the context of Surrealism, and drawing from it new interpretations and perspectives, this volume simultaneously situates the Surrealist movement in 1960s American art criticism and history.
Introduction
1. Poet: Allegory and Metaphor in US Art History and Criticism
2. In the Surrealist Domain: Bed and Target with Plaster Casts
3. Opposer: The Poetics and Politics of Canyon in Paris and New York, 1961
4. Surrealist of the Re-Found Object: Monogram in Front unique
5. Resistance Artist: Bed at Anti-Procès
6. The Constantin Guys of the Atomic Era: Alain Jouffroy, Talisman and Barge
7. Choisiste: âThingsâ in French and US Art Criticism in the 1960s
8. Surrealist in Irony: JosĂŠ Pierre and Trophy III (for Jean Tinguely)
Concluding Remarks: On Robert Rauschenberg, Surrealism and Art History
Exploring all aspects of the Surrealist movement since its establishment in Europe in the 1920s, this series places particular emphasis on the international scope of the movement and on the long history of Surrealism, extending up to the present day. âTransnational Surrealismâ is a venue for scholars from multiple fields to engage with Surrealist history, with a particular focus on themes and concepts from the 1940s onwards, or on the activities of Surrealist groups in areas of the world that lie beyond the usual reach of studies of Surrealism such as Africa, China, Japan, Latin America, Central and Eastern Europe and the USA. In tracing connections between diverse global contexts, the series aims to question ideas of national forms of expression. Monographic studies of individual groups, artists and writers are welcome, especially those that promise to uncover new or relatively overlooked areas of Surrealist activity. Proposals that promote gender and racial diversity in Surrealism studies are particularly encouraged given the fundamental aims of the series.
Editors
Abigail Susik, Willamette University, USA
Krzysztof Fijalkowski, Norwich University of the Arts, UK
Advisory Board
Raymond Spiteri, Te Herenga WakaâVictoria University of Wellington, Aotearoa New Zealand
Catherine L. Hansen, The University of Tokyo, Japan
MarĂa Clara Bernal, Universidad de los Andes, Colombia
Fabrice Flahutez, UniversitĂŠ Jean Monnet de Saint-Ătienne, France
Natalya Lusty, University of Melbourne, Australia
Ambra DâAntone, Peggy Guggenheim Collection, Italy and the Kunsthistorisches Institute in Florenz, Italy
Gavin Parkinson, The Courtauld Institute of Art, UK
Kristoffer Noheden, Stockholm University, Sweden
Michael Richardson, joint editor of The Surrealism Reader (2015), and Visiting Fellow (honorary) at Goldsmiths, University of London, UK
Produktdetaljer
Biografisk notat
Gavin Parkinson is Professor of European Modernism, The Courtauld Institute of Art, UK.