现代主义及其不满:1928年《艺术手册》和超现实主义的案例

R. Spiteri
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引用次数: 2

摘要

本文讨论1928年《艺术手册》中关于马克思·恩斯特作品的争论,探讨超现实主义与现代主义的关系。超现实主义在《艺术手册》中的早期接受反映了现代主义批评家对超现实主义绘画的频繁批评,他们嘲笑它缺乏对形式价值的关注和对文学联想的喜爱。然而,在1928年,对马克斯·恩斯特最近作品的讨论超越了形式主义现代主义批评的界限,解决了超现实主义的不感性政治立场,为现代主义艺术与政治之间的关系提供了难得的快照。尽管由《艺术手册》倡导的现代主义标准,基于典范作品的“可塑性”,出现在政治变迁之上,但它取决于与战后政治共识的隐含协议。在这种背景下,超现实主义绘画的形式不足可以作为一种不同意见的表现而承担一种政治力量。
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Modernism and its Discontents: The Case of Cahiers d’Art and Surrealism in 1928
This paper discusses a 1928 polemic in Cahiers d’Art on the work Max Ernst to explore the relation of surrealism to modernism. The early reception of surrealism in Cahiers d’Art reflected the frequent criticism of surrealist painting by modernist critics, who derided it for its lack of attention to formal values and fondness for literary associations. In 1928, however, a discussion of Max Ernst’s recent work exceeded the bounds of formalist modernist criticism to address surrealism’s dissensual political position, providing a rare snapshot of the relation between modernist art and politics. Although the modernist criteria promoted by Cahiers d’Art, based on the ‘plastic quality’ of exemplary works, appeared above the vicissitudes of politics, it was contingent on an implicit agreement with the postwar political consensus. In this context, the formal inadequacy of surrealist painting could assume a political force as a manifestation of dissensus.
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