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Author: Abigail Susik

Surrealist sabotage and the war on work is an art-historical study devoted to international surrealism’s critique of wage labour and its demand for non-alienated work between the 1920s and the 1970s. The Introduction and Chapter 1 frame the genealogy of surrealism’s work refusal in relation to its inter-war investment in ultra-left politics, its repudiation of French nationalism, and the early twentieth-century development of sabotage theory in the labour movement. Chapter 2 proposes an interpretation of surrealist automatism in 1920s France as a subversion of disciplined production in the emerging information society and also reperformance of feminised information labour. Chapter 3 is a study of autoeroticism and autonomy in Spanish surrealist Óscar Domínguez’s depictions of women’s work tools, such as the sewing machine and the typewriter, in works of art across media during the 1930s. Chapter 4 provides a historical account of labour activism in Chicago surrealism during the 1960s and 1970s, including an analysis of the Chicago surrealist epistolary exchange with German philosopher Herbert Marcuse. An Epilogue considers the paintings that German surrealist Konrad Klapheck made depicting sewing machines, typewriters, and other tools of information labour during the 1960s, in conjunction with related works by other surrealists such as Giovanna. As a whole, Surrealist sabotage and the war on work demonstrates that international surrealism critiqued wage labour symbolically, theoretically, and politically, through works of art, aesthetics theories, and direct actions meant to effect immediate social intervention.

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Elza Adamowicz

9 Dada’s Africa bouzdouc zdouc nfoùnfa mbaah nfoùnfa. (Tzara 1975: 87) Black and white A photograph by Man Ray taken in 1921 and titled Black and White, reproduced in 1924 on the cover of Picabia’s journal 391, juxtaposes on a patterned African textile a wooden Baule male ancestor figure from Côte d’Ivoire with a bronze Art Nouveau statuette of a female nude (figure 9.1). They face each other, the African male figure in profile, the European female figure turned threequarters to the camera. They are wearing similar helmet-shaped headdresses. The female figure

in Dada bodies
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Elza Adamowicz

10 Limit-bodies DADA est l’enseigne de l’abstraction. Tristan Tzara (1975: 363)1 The lady vanishes In New York in 1921 Marcel Duchamp and Man Ray shot a short film depicting Man Ray shaving the pubic hair of Baroness Elsa von Freytag-Loringhoven. The ‘first American Dada’, she was a poet, sculptor, shoplifter and performance artist. Her eccentric appearance on the streets of New York, decked out with a coal-scuttle hat and a birdcage necklace, head shaved or dyed, was in itself a Dada event. The film was lost during processing, Duchamp having attempted to

in Dada bodies
Elza Adamowicz

, and dismissive of the return to classical norms, the Dadaists reacted by aggressively attacking images of the normative body through their parodic remake of neo-classical artists (Picabia, Man Ray) or outlandish pastiches of images used ADAMOWICZ 9781526131140 PRINT (4 col).indd 46 31/01/2019 16:05 shooting the classical body 47 3.1  Francis Picabia, La Nuit espagnole (Spanish Night, 1922) 3.2   Jean-Auguste-Dominique Ingres, La Source (1856) ADAMOWICZ 9781526131140 PRINT (4 col).indd 47 31/01/2019 16:05 48 dada bodies to promote sport or body

in Dada bodies
Abigail Susik

the American surrealist Man Ray on the lecture-hall screen: some of the earliest representations that surrealists self-consciously constructed for the movement in those early moments of its inauguration. My students and I are discussing psychic automatism for the first time together, and my presentation quotes the key line from André Breton’s 1924 Manifesto of Surrealism : automatic writing ( l’écriture automatique ) expresses the ‘actual functioning of thought’, and moreover, automatism is ‘dictated by

in Surrealist sabotage and the war on work
The work of Eugène Atget, a shift in photographic representation
Guillaume Le Gall

Atget’s photography is modern because it is political. Can we consider Atget modern in the same sense, say, as Picasso, Braque or the Italian futurists? What distinguishes Atget from such quintessential artists of modernity is the desire to be, or the consciousness of being, part of the avant-garde without having to inform the public of his allegiance. In a famous episode cited by Man Ray, when Man Ray asked Atget’s permission to publish his images in La Révolution surréaliste , the latter replied: ‘Do not mention my name. These are simple documents that I make.’ 22

in 1913: The year of French modernism
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Return of the prodigious son
Paul Hammond

not be happy at home and so seeks a woman friend to distract him, a friend who he will finally abandon in order to go back to his altruistic wife, is doubtless all very moral and edifying but it leaves us completely indifferent. At times the cinematic essence gushes forth unwontedly in some anodyne film, in a slapstick comedy or poverty row serial. Man Ray has said, in a phrase redolent with meaning: ‘the worst films I might have seen, the ones that send me off to sleep, always contain five marvelous minutes, and the best, the most celebrated ones, only have

in Surrealism and film after 1945
Allan Antliff

10 Aestheticising revolution Allan Antliff War is a State activity which does not characterize a transitory and circumscribed period of its action but has been the very essence of its structure for as long as we know during the whole course of exploitation. Alfredo Bonanno1 In August 1914, America’s best-known English-language anarchist journal, Mother Earth, responded to the outbreak of the First World War with a cover illustration by the modernist artist Man Ray. ‘Capitalism’ and ‘Government’ were depicted as two heads of the same beast ripping ‘humanity

in Anarchism, 1914–18
Elza Adamowicz

respect for men than women’ (1923a: 6).19 Shifting gender categories, linked once again to awareness of the body as commodity, are enacted in two photographs by Man Ray from 1917–18: the photograph of an eggbeater, initially titled L’Homme (a pun on his name and possibly a disguised self-portrait), and the photograph of an assemblage made up of two light reflectors, glass plates and clothes pegs, which he titled La Femme.20 Traditional taxonomies and the distinctions they generate in the act of defining are thus further destabilised by arbitrarily coding an object male

in Dada bodies
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Author: John Potvin

Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.