Networking Surrealism in the USA
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Drost, Julia et al. (Hrsg.): Networking Surrealism in the USA: Agents, Artists, and the Market, Heidelberg: arthistoricum.net, 2019 (Passages online, Band 3). https://doi.org/10.11588/arthistoricum.485

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ISBN 978-3-947449-50-7 (PDF)
ISBN 978-3-947449-51-4 (Hardcover)

Veröffentlicht am 09.12.2019.

Statistik

Julia Drost, Fabrice Flahutez, Anne Helmreich und Martin Schieder (Hrsg.)

Networking Surrealism in the USA

Agents, Artists, and the Market

Passages online

This volume brings the complex networks that fostered and sustained surrealism in North America into academic focus. Who — among collectors, critics, dealers, galleries, and other kinds of mediating agents — supported the artists in the surrealist orbit, in what ways, and why? What more can be learned about highprofile collectors such as the de Menils in Houston or Peggy Guggenheim in New York? Compared to their peers in Europe, did artists in the United States use similarly spectacular strategies of publicity and mediation? In what networks did the commercial galleries operate, locally and internationally, and how did they dialogue with museums? This book offers an innovative and lasting contribution to research and scholarship on the history of art in America, while focusing specifically on the expansion and reception of surrealism in the United States.

Inhaltsverzeichnis
PDF
Front Matter
Summary
Stephanie D’Alessandro, Matthew Gale
Foreword
Julia Drost, Fabrice Flahutez, Anne Helmreich, Martin Schieder
Introduction
Avida Dollars! Surrealism and the Art Market in the United States, 1930–1960
Anne Umland, Talia Kwartler
Fantastic Art, Dada, Surrealism: “A Serious Affair”
Oliver Tostmann
Collecting Modern Art in Hartford: James Thrall Soby, the Wadsworth Atheneum, and Surrealism
Susan Davidson
Peggy Guggenheim and Howard Putzel
Partners in Purchasing
Eva Fotiadi
Alexander Iolas, the Collectors John and Dominique de Menil, and the Promotion of Surrealism in the United States
Clare Elliott
Magritte at the Rodeo: René Magritte in the Menil Collection
Caterina Caputo
Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941
Julia Drost
“Press hostile or silent, public recalcitrant, zero sales”: Max Ernst at the Valentine Gallery, Spring 1942
Martin Schieder
Surrealistic Socialite: Dalí’s Portrait Exhibition at the Knoedler Galleries in 1943
Scarlett Reliquet
Marcel Duchamp: Paradoxical Promoter of His Art in the United States (1942–1960)
Wendy A. Grossman
Surrealism and the Marketing of Man Ray’s Photographs in America: The Medium, the Message, and the Tastemakers
Élisa Sclaunick
“A New Phase of the Offensive”: The 1936 Joan Miró Retrospective at the Pierre Matisse Gallery
Julie Waseige
René Magritte in the United States: Reconciling Business and Art
Daniel Belasco
Femme Maison: Louise Bourgeois, the Norlyst Gallery, and Feminist Surrealism in America, 1943–1947
Anne Helmreich
Julien Levy: Progressive Dealer or Dealer of Progressives?
Marianne Jakobi
The Commercial Strategy of the Pierre Matisse Gallery After 1945: Promoting Individual Artists’ Careers at the Expense of the Careers of Surrealists
Florence Duchemin-Pelletier
Julius Carlebach (1909–1964) and the Trade in So-Called “Primitive” Arts
Timea Andrea Lelik
Surrealism on the Rise: The Copley Galleries and Joseph Cornell in Hollywood
Rachel Kaplan
The Galería de Arte Mexicano and Pathways for Mexican Surrealism in the United States
Susan L. Power
Surrealist Intrusion and Disenchantment on Madison Avenue, 1960
Lewis Kachur
D’Arcy Galleries and New York Late Surrealism: Duchamp, Johns, Rauschenberg
Index
Credits