Word: surrealists
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...Francisco gallery, and last week Manhattan's Whitney Museum made an exhibition out of them. Since neurotic, alcoholic young Pollock was not trying to produce art but to get help, it is not surprising that the drawings are no more interesting than any other spray of surrealist symbolism. Equally unsurprising was the reaction of Pollock's widow: that the public display of such material was in regrettable taste...
Knott and Tate are not afraid to become engaged, or to withdraw, depending on how they feel. Tate's poems vary from the short, sly lyrics of The Lost Pilot to a newly wild and surrealist abandon in The Oblivion Ha-Ha, a book inhabited by immense animals and dreams within dreams. His terse, sensual allegories make deadly insinuations about our habits and fears...
...roses, shingles and pebbles, a generation used to psychedelics will recognize a part of its own experience-reality declaring its inexhaustible fullness. Perhaps it is the concentration of such images, with their shifts of scale and razor-sharp exactitude, that leads some viewers to compare them to Surrealism. But surrealist imagery is, almost by definition, fantastic, whereas O'Keeffe's paintings insist that they are not dreams: the commonest object unfolds itself, seen awake in full sunlight. She is not a metaphorical artist (everything is what it is, and stands for nothing else), but her work is full...
...cornet), a bus boy (French horn), a girl in evening dress (violin), and a child perched in a potted shrub, tapping on a drum. A scattering of vacant chairs inhabiting an empty, silent landscape marks the spot where a party died. Philip C. Curtis, 63, is possibly the only Surrealist now living in Arizona. But Surrealism is a term he uses "quietly, incidentally, to express my ideas. Most Surrealists are on the brutal side. I always have a note of tenderness...
Curtis' paintings have none of the conceptual density or revolutionary aims of surrealist imagery; they are gentle, mannered, elegiac, peopled with doll-like Edwardian women and dandified men. These ghosts, thin and sharp as memory in the preservative desert air, flit through empty, curlicued facades or congregate amid their elaborate furniture, radiating a wistful chic; as image maker, Curtis is more elegant than challenging. His objects do not confront one another in shock, like Lautréamont's famous sewing machine and umbrella on a dissecting table-they nod, as it were, with mild and civil assent...