Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Surrealism
Dal. Picasso. Ernst. Magritte. Maddox. Breton. Artaud, Fondane, Masson--all are to be found in this gallery of surrealist artists. Focussing on surrealist visuality--defined as the visual expression of internal perception or, in Andr Breton's words, internal representation--the contributors to this handsomely illustrated volume shed new light on one of the twentieth century's most exciting cultural movements.
Sheila Legge
None
Decoding Magritte
"In a groundbreaking analysis, Silvano Levy unravels the hidden structures of Magritte's paintings. Magritte had often hinted that there was a covert rationale behind his production, but never gave explanations. Drawing on conversations with the artist's widow and key members of the Belgian surrealist group, Silvano Levy deciphers Magritte's oeuvre in a meticulous study. The inclusion of previously unavailable source material in the form of photographs and substantial interviews with Georgette Magritte, Louis Scutenaire, Irène Hamoir, Marcel Mariën and George Melly provides valuable primary resources, as well as shedding additional light on the 'Magritte code'" (résumé rabat de jaquette)
Desmond Morris
None
Surrealism and Architecture
Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.
The Scandalous Eye
Conroy Maddox discovered surrealism by chance in 1935 and spent the rest of his life exploring its potential through his paintings, collages, photographs, objects and texts. Inspired by artists such as Max Ernst, Oscar Dominguez and Salvador Dalí, he rejected academic painting in favor of techniques that expressed the surrealist spirit of rebellion. Maddox went on to become a rebel in every sense – the defiance that had initially turned towards aesthetics became a broader challenge against morality, religion and the establishment as a whole. Maddox’s colorful exploits and outstanding artistic production undoubtedly made him Britain’s most beguiling, provocative and vigorous exponent of surrealism. This book maps out his place in the history of the surrealist movement and reveals the intellectual complexity as well as the poignant charm of an oeuvre that spans eight decades.
On Not Looking
On Not Looking: The Paradox of Contemporary Visual Culture focuses on the image, and our relationship to it, as a site of "not looking." The collection demonstrates that even though we live in an image-saturated culture, many images do not look at what they claim, viewers often do not look at the images, and in other cases, we are encouraged by the context of exhibition not to look at images. Contributors discuss an array of images—photographs, films, videos, press images, digital images, paintings, sculptures, and drawings—from everyday life, museums and galleries, and institutional contexts such as the press and political arena. The themes discussed include: politics of institutional exhibition and perception of images; censored, repressed, and banned images; transformations to practices of not looking as a result of new media interventions; images in history and memory; not looking at images of bodies and cultures on the margins; responses to images of trauma; and embodied vision.
The Birmingham Group
The focus of this study is the collective of writers known variously as the Birmingham Group, the Birmingham School or the Birmingham Proletarian Writers who were active in the City of Birmingham in the decade prior to the Second World War. Their narratives chronicle the lived-experience of their fellow citizens in the urban manufacturing centre which had by this time become Britain’s second city. Presumed ‘guilty by association’ with a working-class literature considered overtly propagandistic, formally conservative, or merely the naive emulation of bourgeois realism, their narratives have in consequence suffered undue critical neglect. This book repudiates such assertions by arguing that their works not only contrast markedly with other examples of working-class writing produced in the 1930s but also prove themselves responsive to recent critical assessments seeking a more holistic and intersectional approach to issues of working-class identity.
J.G. Ballard's Surrealist Imagination
Making the case that J. G. Ballard's fictional and non-fictional writings must be read within the framework of Surrealism, Jeannette Baxter argues for a radical revisioning of Ballard that takes account of the political and ethical dimensions of his work. Ballard's appropriation of diverse Surrealist aesthetic forms and political writings, Baxter suggests, are mobilised to contest official narratives of postwar history and culture and offer a series of counter-historical and counter-cultural critiques. Thus Ballard's work must be understood as an exercise in Surrealist historiography that is politically and ethically engaged. Placing Ballard's illustrated texts within this critical framework permits Baxter to explore the effects of photographs, drawings, and other visual symbols on the reading experience and the production of meaning. Ballard's textual spectacles raise a variety of questions about the shifting role of the reader and the function of the written text within a predominantly visual culture, while acknowledging the visual contexts of Ballard's Surrealist writings allows a very different historical picture of the author and his work to emerge.
From Rodin to Giacometti
This book is a collection of papers delivered at an international conference in September 1996 at the Scottish National Gallery of Modern Art during a major Giacometti retrospective. The contributors are leading curators, art historians and literature specialists. While the relationship between nineteenth- and twentieth-century painters and writers has been the subject of intense interest in recent years, the parallel relationship between sculptors and writers has been largely neglected. These essays seek to redress the balance by looking at a variety of ways in which the conventional barriers between writing and sculpting were broken down by such pioneering figures as Rodin, Degas, Bourdell...
