Word: surrealist
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Dates: during 1990-1999
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Gorey's taste for deadpan absurdity is sharpened by what he has called his "unreasonable interest in surrealism and Dada." He is a great fan of surrealist Max Ernst, and, just as Ernst rearranged 19th-century engravings into his own fantastic collages, Gorey recombines the elements of forgotten Victorian novels, reshuffling the set pieces and stock characters after his fancy. One of my favorites, The Object-Lesson, is constructed along these lines, piling delicious non sequitur on delicious non sequitur, like this: "It was already Thursday, but his lordship's artificial limb could not be found; therefore, having directed...
What is surprising in Venice is Hamilton's shift, her outsize Surrealist style giving way to disarming quiet. Sitting in the hotel room where she stayed with her husband and five-year-old son during the six weeks that she and a crew of nearly 20 created the show, Hamilton explains the new approach. "When I started this project, I wanted to make something big and yet something almost humble and empty, to comment on American domination," she says. "There is so much in our history that we cannot look at, that we refuse...
...rate, nobody who cares about art would deploy it. Obviously, the question can't be answered by including everyone who lived for a time in the U.S. and influenced the art scene there, because that would make Max Ernst an American instead of a Franco-German surrealist and confer a sort of honorary American status on the Cuban Wilfredo Lam. It would also have made the show unmanageably large. Practically everyone in it, as it stands, was a U.S. citizen and resident, though expatriates like Patrick Henry Bruce (1881-1936), who left America early and came back only to commit...
...shuffles, Judy suggests and Tidbit agrees: plunky spunkiness speaks through childish seriousness as planes fly overhead and the storm breaks. We should congratulate Ashbery for such luxuriousness--Girls on the Run is heroically aesthetic. Perhaps tragic, perhaps symbolic, Ashbery's poem benefits from the sheer two-dimensionality that a surrealist text always lends to its texts, delighting the reader at the most critical level of appreciation...
...work for the fashion pavilion at the 1937 Paris World's Fair continues his studies of the form and figure. The Surrealist ambitions of Couturier's De Chirico-like mannequins, with their featureless faces and heavily textured plaster surface, apparently appealed to Wols. Cloth is more carved than draped as the mannequins cavort and tremble at their shadows, which chase them among the neoclassical columns that decorated their stages and pedestals...