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Germanophone women artists and Surrealism after the Second World War

The Traumatic Surreal is the first major study to examine the ground-breaking roles played by Germanophone women artists working in surrealist traditions in responding to the traumatic events and legacies of the Second World War. Analysing works in a variety of media by leading artists and writers, the book redefines the post-war trajectories of Surrealism and recalibrates critical understanding of its relations to historical trauma. Chapters address artworks, writings, and compositions by the Swiss Meret Oppenheim, the German Unica Zürn, the Austrian Birgit Jürgenssen, the Luxembourg-Austrian Bady Minck, and the Austrian Olga Neuwirth and her collaboration with fellow Austrian Nobel-prize winning novelist Elfriede Jelinek. Locating each artist in their historical context, the book traces the development of the traumatic surreal through the wartime and post-war period.

Textual correspondences in feminist art and writing

In the late 1960s and 1970s, women artists in the United States and Britain began to make texts and images of writing central to their visual compositions. This book explores the feminist stakes of that choice. It analyses how Adrian Piper, Nancy Spero, and Mary Kelly worked with the visual dimensions of language to transform how women are perceived. To illuminate the specific ways in which these artists and writers contribute to the production of a feminist imaginary, Part I charts the correspondences between the artwork of Piper and the writings of Davis. It analyses the artwork she created in the late 1960s and 1970s, when she began using text to create artwork that moves between what Piper identifies as 'the singular reality of the "other."' Davis's writing exposes the fictions animating projections that the black female body is perceived to be a malleable ground upon which fears and fantasies can take visual form. Part II focuses on aggression and traces how its repression plays out across Spero's Codex Artaud and Solanas's SCUM Manifesto. It argues that in Post-Partum Document, texts and pieces of writing become fetish objects that Kelly arranges into visual and linguistic 'poems' that forestall a confrontation with loss. Part III demonstrates that the maternal femininity thought to naturally inhere in woman is also restricted and muffled, quite efficiently repressing the possibility that women could address each other across maternal femininity's contested terrain.

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Rakhee Balaram

, images and actions strike us now, after some decades of reflection, through the lens of our present circumstances. Writing as an outsider who has been intellectually engaged with various aspects of French culture, my book is in part a result of the ‘plurality’ of these encounters. In the title, ‘counterpractice’ refers specifically to the tactical and timely practice of women artists and writers in France (who by no means all react equally or exclusively to the dimensions of gender oppression flagged up by the MLF, or Mouvement de libération des

in Counterpractice
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Patricia Allmer

us torn to pieces and the phosphorescing on the edges – all this uncanny reality found no official expression.’ 21 In August 1939, a week before the outbreak of the Second World War, the Franco-German surrealist Yvan Goll and his French wife Claire, both from Jewish families, fled Europe for America. Claire’s mother was incarcerated in Theresienstadt concentration camp, and deported on 19 September 1942 to Auschwitz, where she died. Germanophone women artists in Surrealism Ernst Bloch’s lament for

in The traumatic surreal
Art and feminist performance politics in Yugoslavia
Jasmina Tumbas

remained primarily tied to major urban areas in Serbia, Croatia, and Slovenia (Belgrade, Zagreb, Novi Sad, and later Ljubljana). Many more women artists existed within this history and more expanded fields of art, such as traditional painting, sculpture, theater, dance, photography, naïve painting, socialist realism, decorative arts, folklore costume design, or hay paintings by women artists such as Lozika Homolja in the small town of Palić, Serbia. It is my hope that the viewpoint of my analyses will encourage further embrace of wide-ranging Jugoslovenkas who challenge

in “I am Jugoslovenka!”
Shulamith Behr

entertained in the correspondence between the poet, artist and writer Else Lasker-Schüler and Werefkin. As we will see, through consideration of the laws of association and networking in literary and artistic communities, the plural meanings of Werefkin’s name challenge logocentric interpretations of Der Blaue Reiter.11 Hence, this study aims to go beyond stereotypical categories of binary thinking about the nature of masculinity and femininity in exposing women artists’ positioning in this avant-garde group. Gender and place The Munich milieu was critical to the ambience

in German Expressionism
Rakhee Balaram

-convent of a feminism that imprisons her – sex unleashed – in the exclusivity of her womanhood. In this chapter the institutional confrontations and formation of groups for women artists in the 1970s will be explored. Particular attention will be paid to existing women's artistic collectives such as the Union des Femmes Peintres et Sculpteurs (UFPS). Later the major collective groups (La Spirale, Femmes en Lutte, Collectif Femmes/Art, and Art et Regard des Femmes) in addition to the exhibiting collective Féminie-Dialogue will be discussed in tandem with

in Counterpractice
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Addressing the other woman
Kimberly Lamm

Introduction: addressing the other woman In the late 1960s and 1970s, women artists in the United States and Britain began to make texts and images of writing central to their visual compositions. This book explores the feminist stakes of that choice. It analyses how three artists – Adrian Piper, Nancy Spero, and Mary Kelly – worked with the visual dimensions of language to transform how women are perceived. I became interested in the way women artists engaged with text and writing when I saw WACK! Art and the Feminist Revolution at MoMA PS1 in New York City in

in Addressing the other woman
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Rakhee Balaram

work. 152 La vague rose What the feminist movement was beginning to lack in terms of political vigor (after the securing of abortion rights), was made up for culturally for women in 1977. The year saw the publication (and historicization) of the MLF by Annie de Pisan and Anne Tristan in their Histoires du MLF , Simone de Beauvoir set up the journal Questions féministes , women artists and intellectuals made the March cover of Art Press ( Figure 2

in Counterpractice
Amy Sawyer and the Arts and Crafts movement
Kate Holterhoff

the Illustrated London News , as well as for gift books featuring the poetry of Edith Prince-Snowden, such as Lilies , Poppies , Daisies , and Remembrance (Raphael Tuck & Sons, London, n.d.). Sawyer also exhibited her fairy-tale paintings widely at galleries including the RA; the Society of Women Artists, Brighton; the Institute of Painters in Oil; and the Paris Salon. Sawyer's whimsical paintings generated some comment and excitement. The Studio remarks of the four-panel screen Sawyer exhibited at the 1896 Arts and Crafts Exhibition, London, reproduced in

in Nineteenth-century women illustrators and cartoonists