Mark Robert Rank, Arts & Sciences at Washington University in St. Louis
A century ago, the French writer and poet André Breton penned his ‘Manifesto of Surrealism,’ launching an art movement known for creating bizarre hybrids of words and images.
It’s often implied that violent art means something sinister about its creator – most recently, in news stories about ‘scary’ kids’ drawings of death. But the history of modern art suggests otherwise.
A new three-part series brings together a wealth of material and voices to present new films, photographs, stories and theories about the brilliant artist.
Katy Hessel’s ambitious, weighty corrective to an art history canon that sidelines (or erases) women is ‘impressive and overdue’, writes Edwina Preston.
Australian surrealism has long been understood as if it was imported from Paris. This new exhibition places two Czech-Australian émigrés at the heart of the movement.
At a time when surrealists were objectifying women’s bodies, American artist Dorothea Tanning was looking deeper at the transformative potential of female experience and the unconscious.
As the longest-running avant-garde movement of the 20th century, Surrealism’s scope and richness is perhaps unparalleled in its influence of modern art and culture.
Lurid Beauty is the first major examination of Australian Surrealism and its profound impact on Australian art from the 1930s to the present day. So how does it all hang together?