surrealist women an international anthology

Surrealism and the Occult: Shamanism, Magic, Alchemy and the Birth of an Artistic Movement. New York: Thames and Hudson, 2002.Ĭhoucha, Nadia. Women Artists and the Surrealist Movement. “An Infinite Play of Empty Mirrors.” In Mirror Images: Women, Surrealism and Self-Representation, edited by Whitney Chadwick, 2-35. “Leonora Carrington: Evolution of a Feminist Consciousness.” Woman’s Art Journal 7, no. New York: The Feminist Press at CUNY, 1989.Ĭhadwick, Whitney.

Darrington See?: An Anthology of Feminist Supernatural Fiction, edited by Jessica Amanda Salmonson. Monterrey: Patronato de Promocíon de las Artes, 1979. “Jezzamathatics or Introduction to the Wonderful Process of Painting.” In Leonora Carrington, edited by Juan García Ponce. New York: Center for Inter-American Relations, 1975. “Commentary.” In Leonora Carrington: A Retrospective Exhibition, edited by Nita M. New York: Routledge, 1990.Ĭarrington, Leonora.

Gender Trouble: Feminism and the Subversion of Identity. New York: Prestel Publishing, 2009.īutler, Judith. “Introduction: Of Fallen Angels and Angels of Anarchy.” In Angels of Anarchy: Women Artists and Surrealism, edited by Patricia Allmer, 12-27. Burlington: Lund Humphries, 2004.Īllmer, Patricia. Leonora Carrington: Surrealism, Alchemy and Art.

Rosemont also prefaces each surrealist’s work with a brief biographical statement.Aberth, Susan L. She then organizes the book into historical periods ranging from the 1920s to the present, with introductions that describe trends in the movement during each period. She opens the book with a succinct summary of surrealism’s basic aims and principles, followed by a discussion of the place of gender in the movement’s origins. Letting surrealist women speak for themselves, Penelope Rosemont has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. This anthology, the first of its kind in any language, displays the range and significance of women’s contributions to surrealism. Yet outside the movement, women’s contributions to surrealism have been largely ignored or simply unknown. Indeed, few artistic or social movements can boast as many women forebears, founders, and participants-perhaps only feminism itself. Beginning in Paris in the 1920s, women poets, essayists, painters, and artists in other media have actively collaborated in defining and refining surrealism’s basic project-achieving a higher, open, and dynamic consciousness, from which no aspect of the real or the imaginary is rejected.

Surrealist women an international anthology