CONTEMPORARY ART MOVEMENTS

PUBLISHER
Moderne Kunst Nürnberg

BOOK FORMAT
Faux-Leatherbound, 6.5 x 9 in. / 312 pgs / 150 color.

PUBLISHING STATUS
Pub Date
Out of print

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2012 p. 49   

PRODUCT DETAILS
ISBN 9783869842332 TRADE
List Price: $68.00 CDN $80.00

AVAILABILITY
Not available

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MODERNE KUNST NüRNBERG

Le Surrealisme c'est moi!

Hommage to Salvador Dalí

Edited by Gerald A. Matt. Text by Wolfgang Fetz, Belinda Grace Gardner, Synne Genzmer, David Lomas, Gerald A. Matt, Catherine Millet, August Ruhs. Interviews by Gerald A. Matt, Katarzyna Uszynska Lucas Gehrmann, Caroline Corbetta.

Featured image, reproduced from <I>Le Surrealisme c'est moi!</I>, is of Salvador Dalí's 1939 "Dream of Venus-Pavillon" (photograph by Eric Schaal).More than almost any artist of the twentieth century, Salvador Dalí (1904–1989) made a continuous blur of distinctions between art and life, and between art and commerce. Dalí packaged himself as a mass-media experience that impressed even Andy Warhol, who once said of him, “It’s like being with royalty or circus people.” Yet in spite of his fame, Dalí’s legacy is rarely considered. “Le Surrealisme, c’est moi!” was one of Dalí’s most famous self-aggrandizing statements and it serves as an apt title for this luxuriantly produced, faux-leatherbound catalogue. Here, the ongoing influence of Dalí’s art is traced through subsequent generations, from Louise Bourgeois, Philippe Halsman, Andy Warhol, to Jean-Michel Othoniel, Eric Schaal, Glenn Brown, Markus Schinwald and Francesco Vezzoli. Their works are juxtaposed with a selection of some 70 paintings, drawings and sculptures by Dalí.

Featured image, reproduced from Le Surrealisme c'est moi!, is of Salvador Dalí's 1939 "Dream of Venus-Pavillon" (photograph by Eric Schaal).

Le Surrealisme c'est moi!

STATUS: Out of print | 00/00/00

For assistance locating a copy, please see our list of recommended out of print specialists

FROM THE BOOK
"Eccentric, madman, genius? To an extent greater than almost any other artist of the 20th century, Salvador Dalí (1904–1989) dissolved the borders between art and life, originality and commerce. His visions of Surrealism and the aesthetic fusion of dream and reality, which expresses itself as hallucination, fever and frenzy or delirium, were manifested in almost all artistic media and also in his self-dramatization. Dalí is not only one of the most famous painters of his generation, who implemented the principles of his so-called paranoïac-critical method in the style of the Old Masters and is recognized for his motifs all over the world; Dalí was also one of the first artists to concern himself with design, cinema and mass media, and followed marketing strategies that are now mainly associated with the name Andy Warhol. The techniques of the Surrealists centering around André Breton, which tried to evoke the images of the unconscious through a passive condition of the ego using écriture automatique, were confronted by Dalí with a demonstrative individualism, as he reacted polemically to the political accusations and the exclusion of his person from the group by saying: 'I am not a Surrealist. I am Surrealism. Surrealism is not a party or a label; it is a state of mind, unique, to each his own, that can be affected by no party line, taboo, or morality. It is the total freedom to be and the right to absolute dreaming.' For this multimedia artist, who was active in almost every area of art production, designing stage sets, perfume bottles and jewelry, working with Hitchcock and Walt Disney, filming advertising spots, appearing on TV shows and making his paintings available as cover art for Vogue, Harper’s Bazaar and Country House, Surrealism was a way of life. Dalí took over a huge range of roles and cultivated his appearance, which became a brand and, ultimately, a caricature."
—Gerald A. Matt, Excerpted from the Foreword to Le Surrealisme c'est moi!.

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