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Surrealism

Event date
Saturday, June 27, 2009 - 12:00

Discussion 2 This symposium explores the controversial status of Futurist movements in art history, and some of their ‘avant-garde’ practices. Speakers engage with various forms of Futurist art, performance and film, including the use of manifestos and demonstrations. Italian Futurism will be viewed in relation to other radical art practices across Europe. The Futurists’ disdain for traditional values and their pursuit of an ‘art of modern life’ will be explored in relation to prevailing concepts of modernity and ‘avant-garde’ utopias.

Event date
Saturday, June 27, 2009 - 12:00

Mary-Ann Caws, Manifesting A look at a selection of visual manifestos, in their relation to verbal ones—what sorts of crossover features might we determine (or invent), with our post-event imaginations running high, as in the original big and loud futurist ones? A quick dada/surrealist spin will be put on the whole thing, with additional thoughts after the Venice Biennale sneaking in.Suggested Further Reading:Mary Ann Caws, ed.

Event date
Saturday, June 26, 2004 - 12:00

Steve Edwards, Martin Gaughan and Gail Day, Plenary 1  This discussion forms part of the study day that explores concepts of avant-gardism, and the ways in which these have been deployed to historicise and interpret twentieth century art.

Event date
Saturday, June 26, 2004 - 12:00

Dada to Surrealism: Continuity  Speaker: Martin Gaughan, writer and former Head of the History and Theory of Art at the University of Wales Institute, Cardiff .This talk traces some of the issues which informed work in the different Dada centres, establishing their origins and concerns, and considering how the relationships between the different moments can be characterized.

Event date
Saturday, June 26, 2004 - 12:00

Steve Edwards, USSR in Construction  Speaker: Steve Edwards, Research Lecturer in History of Art at The Open University. This talk looks at Russian art from just before World War 1 until the middle of the 1930s, considering the relation between Constructivist art and the politics of the period. In the wake of the 1917 revolution many avant-garde artists identified with the aims of the Bolshevik regime. Some artists took up teaching or administrative roles in the new state and many tried to find appropriate ways to respond to the transformation of social relations.

Event date
Saturday, June 16, 2007 - 12:00

Matthew Gale, Ian Christie, Gill Perry and Dawn Ades, Discussion 2  A video recording a discussion from the Tate Modern Surrealism and Film Study Day conference

Event date
Saturday, June 16, 2007 - 12:00

Ian Christie, 'The marvellous is popular!' Dalí in the context of Hollywood surrealism  Surrealism started as a revolt against the idea of elite avant-gardism, and even if it eventually became a new avant-garde, its adherents maintained an enthusiasm for popular culture, including mainstream and genre cinema, becoming arbiters in this field. This presentation examines two strands in Hollywood cinema to which Dalí, like other Surrealists, was drawn – the carnivalesque and the erotic-romantic – and will also consider the Freudian morality drama, to which he eventually contributed. Further Reading

Event date
Saturday, June 16, 2007 - 12:00

Elliott King, Dalí, Fonzie, and what 'Late Dalí and Film' can tell us about Late Dalí and Everything Else  Speaker: Elliott King, a specialist in Dalí's post-war art and cosmogony. His first book, Dalí, Surrealism and Cinema (2007), is published by Kamera Books. Critics have often identified Dalí's 1941 rejection of Surrealism in favour of 'classicism' as the 'tipping point' when his work began to decline. His activity with film offers a compelling challenge to that history.

Event date
Saturday, June 16, 2007 - 12:00

Discussion 1 A video recording of a discussion from the Tate Modern Surrealism and Film Study Day

Event date
Saturday, June 16, 2007 - 12:00

Dawn Ades, Why Film?  Was there, for Dalí, a special appeal in film? Was it an alternative to his paintings, adaptable to certain effects beyond the reach of the canvas? Was it an extension of the pictorial image, or rather of his writings? Dawn Ades reviews Dalí's affair with film, a story of disappointments and optimism. Further Reading Paul Hammond L'Age d'or BFI Film Classics 1997 Dawn Ades "Morphologies of Desire" in Salvador Dali: The Early Years South Bank Centre 1994 Salvador Dali "The Rotting Donkey" (1930) in Haim Finkelstein The Collected Writings of Salvador Dali CUP 1998 p.223

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