The Curatorial Avant-Garde
Surrealism and Exhibition Practice in France, 1925–1941
Seiten
2015
Pennsylvania State University Press (Verlag)
978-0-271-05939-6 (ISBN)
Pennsylvania State University Press (Verlag)
978-0-271-05939-6 (ISBN)
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Explores the emergence of an amateur class of curators in France between the world wars. Focuses on the Surrealist writers and artists who developed an alternative curatorial practice to that pursued by the community of professionally trained curators and exclusive art dealers.
All too often, the historical avant-garde is taken to be incommensurate with and antithetical to the world inhabited by the museum. In The Curatorial Avant-Garde, by contrast, Adam Jolles demonstrates the surrealists’ radical transformation of the ways in which spectators encountered works of art between the wars. From their introduction in Paris in 1925, surrealist exhibitions dissolved the conventional boundaries between visual media, language, and the space of public display. This intrusion—by a group of amateur curators, with neither formal training nor professional experience in museums or galleries—ultimately altered the way in which surrealists made, displayed, and promoted their own art. Through interdisciplinary analyses of particular exhibitions and works of art in relation to the manner in which they were displayed, Jolles addresses this public face of surrealism. He directs attention to the venues, the contemporary debates those venues engendered, and the critical discourses in which they participated. In so doing, he shines new light on the movement’s artistic and intellectual development, revealing both the political stakes attached to surrealism within the historical context of interwar Europe and the movement’s instrumental role in the trajectory of modernism.
All too often, the historical avant-garde is taken to be incommensurate with and antithetical to the world inhabited by the museum. In The Curatorial Avant-Garde, by contrast, Adam Jolles demonstrates the surrealists’ radical transformation of the ways in which spectators encountered works of art between the wars. From their introduction in Paris in 1925, surrealist exhibitions dissolved the conventional boundaries between visual media, language, and the space of public display. This intrusion—by a group of amateur curators, with neither formal training nor professional experience in museums or galleries—ultimately altered the way in which surrealists made, displayed, and promoted their own art. Through interdisciplinary analyses of particular exhibitions and works of art in relation to the manner in which they were displayed, Jolles addresses this public face of surrealism. He directs attention to the venues, the contemporary debates those venues engendered, and the critical discourses in which they participated. In so doing, he shines new light on the movement’s artistic and intellectual development, revealing both the political stakes attached to surrealism within the historical context of interwar Europe and the movement’s instrumental role in the trajectory of modernism.
Adam Jolles is Associate Professor of Art History at Florida State University.
Contents
List of Illustrations
Acknowledgments
Introduction: The Curatorial Avant-Garde
1Breaking the Silence
2Denouncing de Chirico
3Colonists by Vocation
4The Tactile Turn
5The Artist as Dealer
Conclusion: Looking Back on Adorno
Notes
Selected Bibliography
Index
Erscheint lt. Verlag | 15.7.2015 |
---|---|
Reihe/Serie | Refiguring Modernism |
Zusatzinfo | 25 Halftones, color; 68 Halftones, black and white |
Verlagsort | University Park |
Sprache | englisch |
Maße | 229 x 241 mm |
Gewicht | 1134 g |
Themenwelt | Kunst / Musik / Theater ► Allgemeines / Lexika |
Kunst / Musik / Theater ► Kunstgeschichte / Kunststile | |
ISBN-10 | 0-271-05939-7 / 0271059397 |
ISBN-13 | 978-0-271-05939-6 / 9780271059396 |
Zustand | Neuware |
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