1 00:00:02,540 --> 00:00:19,500 I'm talking today about three of the little magazines topic which was published in Martinique from 1941 to 45 V.V. V or Triple V, 2 00:00:19,500 --> 00:00:23,790 which was founded by the exiled surrealists in New York in 1942, 3 00:00:23,790 --> 00:00:34,950 and view a New York avant garde magazine that was edited by Charles Henry Ford, which ran from 1940s 1947. 4 00:00:34,950 --> 00:00:38,850 And I think these these magazines are not the only ones I could talk about, 5 00:00:38,850 --> 00:00:49,290 but they are perhaps most important in charting socialism's major encounters in the Americas and its attempts to find a new paradigm. 6 00:00:49,290 --> 00:00:57,810 Following the fall of France in 1940 and the Second World War, 7 00:00:57,810 --> 00:01:05,340 there's a dramatic contrast in the way that surrealism was received in Martinique and in New York, 8 00:01:05,340 --> 00:01:14,850 which highlights the complexity of its anti nationalist position in the face of different nationalist and cultural agendas. 9 00:01:14,850 --> 00:01:24,660 And the way in which surrealism had been presented in the USA in the 1930s has stripped the movement of its radical politics. 10 00:01:24,660 --> 00:01:32,010 Influential critics like Clement Greenberg believed it was necessary to focus on saving culture rather than on politics. 11 00:01:32,010 --> 00:01:36,120 And he hated the anti-war stance of the historical album Gods, 12 00:01:36,120 --> 00:01:42,660 and felt the surrealism and abnegate his duty to reform high culture thinks Rosen was also 13 00:01:42,660 --> 00:01:49,890 compromised by its exploitation in the advertising industry and by the success of Salvador Dali, 14 00:01:49,890 --> 00:01:54,150 who by 1940 incarnated surrealism for the American. 15 00:01:54,150 --> 00:02:05,380 That's the US public. Marcia Pyra reviewed the dealer Julian Levy's book, Surrealism, with the words Surrealism seems inadequate for its task. 16 00:02:05,380 --> 00:02:11,910 Its imaginary mutilations appear abstract, trivial and invasive and evasive. 17 00:02:11,910 --> 00:02:17,280 Moreover, there was, as we shall see, a powerful local cultural nationalism, 18 00:02:17,280 --> 00:02:22,560 even amongst apparently avant garde artists in the USA, surrealism is undeniable. 19 00:02:22,560 --> 00:02:27,840 Influence was systematically disavowed, as a nice, Knin said. 20 00:02:27,840 --> 00:02:35,160 America is rejecting all European influences like children who reject their parental influence. 21 00:02:35,160 --> 00:02:40,670 Nothing must come from Europe, but they borrow and imitate, as we did when we were young. 22 00:02:40,670 --> 00:02:49,000 Only we were grateful to our influences. 23 00:02:49,000 --> 00:03:00,940 This is a spread from Triple V from funders who have Triple V with a photograph of the Martinique poet Emmet's says F. 24 00:03:00,940 --> 00:03:06,720 And I'm going to be talking about the founding of his magazine topic for a moment. 25 00:03:06,720 --> 00:03:09,790 The encounters in the Caribbean. It is with Martinique. 26 00:03:09,790 --> 00:03:17,740 Cuba particularly presents surrealism in a different light, rather, from thinking in terms of the influence of surrealism, 27 00:03:17,740 --> 00:03:26,050 whether denied or acknowledged or the way it has been criticised for selectively appropriating from other cultures and imposing its name. 28 00:03:26,050 --> 00:03:32,020 We find an encounter that opened up communications between different cultures and sensibilities. 29 00:03:32,020 --> 00:03:37,210 And I think these encounters changed surrealism and the surrealists reframed our 30 00:03:37,210 --> 00:03:42,070 earlier Parisian ideas of the primitive in favour of cross-cultural synthesis, 31 00:03:42,070 --> 00:03:56,020 syncretic culture and hybrid art forms. Now, Poppy was founded by Emet and Suzanne says Out and on Immanuel in 1941 says Out was born in Martinique, 32 00:03:56,020 --> 00:04:01,720 which is the most assimilated of the French colonies. And he went to the he won a scholarship to Paris. 33 00:04:01,720 --> 00:04:12,400 He studied the Ecole Normal Supérieure. And then he wrote his great poem, K.A. Double Tall Le Pen, Natale notebook of Return to the Native Country. 34 00:04:12,400 --> 00:04:19,600 He went back to Martinique in 1939 and in 1943 he helped organise the coup that overthrew the Vichy 35 00:04:19,600 --> 00:04:27,220 administration in Martinique and the country rallied to de Gaulle says there was elected the mayor of Fort. 36 00:04:27,220 --> 00:04:36,940 Of course, that's the capital of Martinique in 1945 at the end of the war, and he remained its mayor, astonishing until 2001. 37 00:04:36,940 --> 00:04:41,080 He only died in 2008. 38 00:04:41,080 --> 00:04:48,310 He continued to believe that political assimilation was economically advantageous to Martinique, whose inhabitants agreed with him. 39 00:04:48,310 --> 00:04:53,860 And in fact, he sat in the represent communist representative in the French parliament. 40 00:04:53,860 --> 00:04:57,160 But cultural assimilation was a different matter altogether, 41 00:04:57,160 --> 00:05:03,870 and says our assertive throughout his poetry, his essential negritude accommodate Rue Moi. 42 00:05:03,870 --> 00:05:11,260 The Macklemore depart the room he wrote in the case of a tulip pinata. 43 00:05:11,260 --> 00:05:15,010 I think in some ways we freed of lamb's jungle. 44 00:05:15,010 --> 00:05:25,210 And this is another spread from the same issue of Triple V PBB showing Lam in his in his some Havanas studio in front of the huge painting, 45 00:05:25,210 --> 00:05:26,680 The Jungle. 46 00:05:26,680 --> 00:05:38,510 And I think this painting and those related to it from the 1940s could be seen as the visual partners to says as poem of a tool, open that title. 47 00:05:38,510 --> 00:05:43,690 And I quoted little from his fate, which translates, I'm afraid I'm not going to try. 48 00:05:43,690 --> 00:05:47,560 Just a couple of lines. Key Achelen, some above advocate. 49 00:05:47,560 --> 00:06:01,680 Admirable question is mixture of French and English. Are you sir batty, sir prêt who got Goshawk to huggin was the Santería priesthood. 50 00:06:01,680 --> 00:06:11,050 Now LEMS Connexions and this is the this is the painting The Jungle, which belongs the Museum of Modern Art in New York. 51 00:06:11,050 --> 00:06:19,150 Alam's Connexions with surrealism have in recent years been minimised in favour of an Afro Cuban context for his work. 52 00:06:19,150 --> 00:06:25,770 Placing him with an a surrealist framework has been seen as an imposition by Eurocentric art history. 53 00:06:25,770 --> 00:06:33,790 The Cuban art historian and critic Karradah Mosquita has argued for a change of viewpoint for a new account of lams work. 54 00:06:33,790 --> 00:06:40,450 Looking at it less as a product, I quote, as a product of surrealism or in terms of the presence of primitive elements, 55 00:06:40,450 --> 00:06:48,740 then as a result of Cuban and Caribbean culture and as a pioneering contribution to the role of the Third World in the contemporary world. 56 00:06:48,740 --> 00:06:58,300 Now, although this is a salutary exercise, I think these viewpoints surrealism in Cuba are not necessarily incompatible. 57 00:06:58,300 --> 00:07:02,980 Surrealism became a scapegoat for the primitivism fantasies of the West. 58 00:07:02,980 --> 00:07:11,470 Mascara denounced and I quote, a certain exoticism typical of the astonished Western vision, particularly amongst the surrealists, 59 00:07:11,470 --> 00:07:19,390 which extends to everything primitive set, assizes, mystery, magic, night, darkness, fantastic, etc. 60 00:07:19,390 --> 00:07:21,820 The assumption that Serros was an aesthetic sizing, 61 00:07:21,820 --> 00:07:30,130 even anaesthetising influence in the complex story of modern art outside the Western centres ignores the political commitments of this movement, 62 00:07:30,130 --> 00:07:39,540 whose anticolonial stance differentiated from an earlier avant garde which fed simply on formal inventiveness of African art. 63 00:07:39,540 --> 00:07:49,550 So I think that. There's certainly a change in Lamb's work in about 1941, 64 00:07:49,550 --> 00:07:56,900 which just parallels his magnificent flowering in the painting in the Cuban paintings, 1942 52. 65 00:07:56,900 --> 00:08:01,610 But it would be a mistake to equate escaping Europe with abandoning surrealism. 66 00:08:01,610 --> 00:08:03,280 And I would argue that, on the contrary, 67 00:08:03,280 --> 00:08:12,680 Lamb discovered in surrealism unexpected resources precisely as a result of its displacement and the loss of its former centre, Paris. 68 00:08:12,680 --> 00:08:22,760 And just putting up here, if a group of of them of historical photographs of France, of Marseilles, 69 00:08:22,760 --> 00:08:27,500 where the Sunnis took refuge while they were waiting for a refugee ship, 70 00:08:27,500 --> 00:08:35,960 they were helped by Varian Fry in the refugee centre at the end of the top right side. 71 00:08:35,960 --> 00:08:41,910 There is Hitler who had by then entered Paris. 72 00:08:41,910 --> 00:08:46,450 The the socialists are in the path of France was under Vichy control. 73 00:08:46,450 --> 00:08:54,080 But there was still in considerable danger. I just wanted to point out in the second and that this one here, 74 00:08:54,080 --> 00:09:01,070 there's land at the back and a blot on his family and land appears again in some of the other photographs. 75 00:09:01,070 --> 00:09:09,980 And I think that's his greater intimacy in Marseilles of this winter, 1940 to 41 had a lasting effect on his work. 76 00:09:09,980 --> 00:09:18,040 And I must say, he was in daily contact. Embleton, with artists like that to Brana, participate in collective games and projects. 77 00:09:18,040 --> 00:09:24,350 And I think a special significance was the revival of automatism in surrealist discourse of this time, 78 00:09:24,350 --> 00:09:31,370 which Lambis too tough, which in a distinctive way, and which he was one of the last great practitioners. 79 00:09:31,370 --> 00:09:42,050 In March 1941, Lambe, together with Unfaithful, told his family, Claude Levius Tulse and other refugees embark from Marseilles for America. 80 00:09:42,050 --> 00:09:50,420 The last sort of Europe was a grim reminder of its fate, and Livia's plus wrote in his memoir This topic. 81 00:09:50,420 --> 00:09:58,220 I did not begin to understand the situation until the day we went on board between two rows of steel helmeted guards with machine guns at 82 00:09:58,220 --> 00:10:06,860 the ready who cordoned off the key side and cut the passengers off from any contact with the relatives and friends who come to say goodbye. 83 00:10:06,860 --> 00:10:09,890 350 passengers, mostly artists and intellectuals, 84 00:10:09,890 --> 00:10:16,370 under threat from the Vichy regime crammed into with small steamer with only two cabins and seven berths. 85 00:10:16,370 --> 00:10:23,710 Libby Strauss had a cabin in Britain, didn't show, and therefore they communicated by letter during the voyage. 86 00:10:23,710 --> 00:10:27,830 That said, it was more like a deportation of convicts and slavey, Strauss said. 87 00:10:27,830 --> 00:10:34,590 The end of April. The overcrowded ship reached the island of Martinique, a French colony then under Vichy control, 88 00:10:34,590 --> 00:10:37,430 and many of the passengers, including Burton and Lamb, 89 00:10:37,430 --> 00:10:44,380 were promptly locked up there in what was effectively a prisoner of war camp in a former Lepo hospital, 90 00:10:44,380 --> 00:10:52,640 but managed to get permission to leave the camp to explore the streets of full defiance and chant seem to enter haberdashers shop. 91 00:10:52,640 --> 00:10:57,260 He picked up a local publication on display that, to his astonishment, 92 00:10:57,260 --> 00:11:03,170 he found himself reading texts that shared the political and aesthetic views of the surrealists. 93 00:11:03,170 --> 00:11:08,540 The force in this modest journal to speak, and I quote, Brittle, 94 00:11:08,540 --> 00:11:14,270 said exactly what needed to be said, not just in the best way, but with the greatest force. 95 00:11:14,270 --> 00:11:20,510 All those mocking shadows were torn aside and dispersed. All the lies and derision fell in tatters. 96 00:11:20,510 --> 00:11:28,490 It was proof that far from being broken or stifled here, the human voice rose up at the very shaft of light. 97 00:11:28,490 --> 00:11:35,210 Amy says Air was the name of the one speaking. So this was the first issue to speak. 98 00:11:35,210 --> 00:11:39,990 And its chief animator's says out. Suzanne says, Our elderly minion. 99 00:11:39,990 --> 00:11:46,380 And it's your sister who happened to own the little haberdashers shop and quickly put back in contact with this group. 100 00:11:46,380 --> 00:11:49,070 And it's easy to understand what's so move on. 101 00:11:49,070 --> 00:11:56,810 It says as opening text for the first number, as well as the fully unexpected references throughout the review reviewed his own perfect universe. 102 00:11:56,810 --> 00:12:05,240 And you can see that there's a quotation from Dumble here or one of the surrealists chosen ancestors. 103 00:12:05,240 --> 00:12:10,730 I said, One must be a singer. You must become a singer. 104 00:12:10,730 --> 00:12:16,400 Red also encountered a political voice that believed in poetry and opposition from within. 105 00:12:16,400 --> 00:12:22,940 On a on a moral and social as well as aesthetic level to the Vichy regime, which is also a black voice, 106 00:12:22,940 --> 00:12:28,490 one who spoke from within the colonised even more as a voice of vigorous protest. 107 00:12:28,490 --> 00:12:35,930 Unlike the feeble and masochistic publications that I had encountered in France in the months preceding his departure, 108 00:12:35,930 --> 00:12:43,050 says as text a passionate protest against a colonial power subservient to fascism and what he felt was a culture. 109 00:12:43,050 --> 00:12:47,440 Void, and I quote, as silent as sterile land. 110 00:12:47,440 --> 00:12:53,010 I'm speaking about arms and my hearing measures by the Caribbean Sea. 111 00:12:53,010 --> 00:12:58,380 The terrifying silence of man. Europe, Africa, Asia. 112 00:12:58,380 --> 00:13:03,750 I heard screaming steel drum drumbeats in the bush temples, pragmatist, banyan trees. 113 00:13:03,750 --> 00:13:11,820 And I know it is man speaking. But here is the monstrous atrophied, the voice, the age old exhaustion, the incredible mutism. 114 00:13:11,820 --> 00:13:16,710 No city, no art, no poetry. But he goes on. 115 00:13:16,710 --> 00:13:24,720 We are the kind who refuse. The shadow and topic was censored by the Vichy regime who controlled Martinique. 116 00:13:24,720 --> 00:13:32,100 And it disguised its brutal critiques in various ways. Publishing incendiary poetry, scientific studies of local flora and fauna. 117 00:13:32,100 --> 00:13:38,250 Live for Banias on African civilisations. Negro Cuban folk tales gathered by Lydia Cabrera. 118 00:13:38,250 --> 00:13:43,440 Poems and text by says Our Little Baby and Pepé Listeners Southern adoption of 119 00:13:43,440 --> 00:13:47,880 surrealism because it was unnecessary if the jungle would change its direction. 120 00:13:47,880 --> 00:13:57,390 In any sense, and with Tropic, the surrealists encountered a movement of a new kind whose championing the black population and cultures 121 00:13:57,390 --> 00:14:04,260 and challenge to colonial classical French values endorsed and justified their own intransigence, 122 00:14:04,260 --> 00:14:09,450 says it was himself also care about reciprocal value for him of their support. 123 00:14:09,450 --> 00:14:14,220 Breteau brought us boldness. He cut short our uncertainties. 124 00:14:14,220 --> 00:14:21,420 I would say that the meeting with Plato was a confirmation of the truth of what I had discovered by my own reflections. 125 00:14:21,420 --> 00:14:29,030 And he also says our gives a very moving description. Little else is not just as a poet, but as one who sought out poetry. 126 00:14:29,030 --> 00:14:33,930 I quote says How he literally fascinated me. He had an astonishing sense of poetry. 127 00:14:33,930 --> 00:14:38,250 He sensed poetry. He sniffed it like pollen in the air. 128 00:14:38,250 --> 00:14:44,860 A poet and a philosopher. The meeting of battle was a very important thing for me. 129 00:14:44,860 --> 00:14:53,070 And as says Suzanne says, I wrote in her text in the eighth issue a topic in 1943. 130 00:14:53,070 --> 00:15:01,530 Surrealism and thus surrealism as an activity was dynamism, process, assist, human emancipation and activity which could and I quote, 131 00:15:01,530 --> 00:15:11,670 liberate man by revealing his unconscious, assisting the liberation of peoples, by clarifying the blind myths that have governed them hitherto. 132 00:15:11,670 --> 00:15:15,650 I continue to quote, The arrow of history indicates our human task. 133 00:15:15,650 --> 00:15:21,900 A society tainted in its origins by crime, supporting the present time by injustice and hypocrisy, 134 00:15:21,900 --> 00:15:28,680 rendered fearful of its future by bad conscience, must morally, historically necessary disappear. 135 00:15:28,680 --> 00:15:33,600 And amongst the powerful war machines of the modern world has placed at our disposal. 136 00:15:33,600 --> 00:15:39,210 Audacity has chosen surrealism, which offers the best chance of success. 137 00:15:39,210 --> 00:15:45,570 Lamb is first mentioned in the second issue to speak as the astonishing black Cuban painter in 138 00:15:45,570 --> 00:15:51,420 whom we meet at the same time as the best of Picasso's tutelage aesthetic in African traditions. 139 00:15:51,420 --> 00:15:56,940 Curiously and intelligently mingled. And in the sixties, you had Topete. 140 00:15:56,940 --> 00:16:01,740 There was a commentary on land by Pierre-Yves Lub and I. 141 00:16:01,740 --> 00:16:08,400 I quote he. He mentions an astonishing range of works with which land surrounded himself in Paris. 142 00:16:08,400 --> 00:16:16,260 Ivory Coast Mask's New Hebrides Triphone Carvings. Easter Island fetishise sculptures in Papua New Guinea. 143 00:16:16,260 --> 00:16:21,090 And you can see here is a photograph of LAMS studio actually after the war, 144 00:16:21,090 --> 00:16:25,560 but showing some of these these extraordinary sculptures that he collected. 145 00:16:25,560 --> 00:16:30,930 So it wasn't just the Cuban context. It was a much broader border one than that. 146 00:16:30,930 --> 00:16:38,050 And Loeb tells a funny anecdote against himself. He while they were in Paris from what, Picasso? 147 00:16:38,050 --> 00:16:44,100 He's influenced by Negro art and Picasso. Furious replied, Well, he has the right him. 148 00:16:44,100 --> 00:16:58,180 He is back on May 16th, 1941, Lam Black Tar Lumber and AUB left Martinique from centre to meet. 149 00:16:58,180 --> 00:17:08,220 They stopped in Santa Domingo and from there I told his family. S New York, while Lemon also left for Cuba, arriving in late July 1941. 150 00:17:08,220 --> 00:17:11,550 Lamphere brought practically nothing with him. 151 00:17:11,550 --> 00:17:17,610 He had to start again from scratch, and his first impression has returned to Havana was one of terrible sadness. 152 00:17:17,610 --> 00:17:22,470 The whole colonial drama of my youth seemed to be reborn in me. 153 00:17:22,470 --> 00:17:31,430 Cuba was the difference. Martinique was that Cuba was an independent country, not a colony. 154 00:17:31,430 --> 00:17:38,900 Did it become a playground for the rich? This is this is pre Castro. And most Cubans of African descent lived in poverty. 155 00:17:38,900 --> 00:17:43,080 Lam was appalled by the conditions and the cultural as well as economic forms of exploitation. 156 00:17:43,080 --> 00:17:47,490 In Havana, he said, at that time, was a land of pleasure. 157 00:17:47,490 --> 00:17:51,030 Sugary music, rumbas, mambos and so forth. 158 00:17:51,030 --> 00:17:59,190 Poetry in Cuba then was over political and committed like that as Nick Lafsky in a few others oils written for the tourists. 159 00:17:59,190 --> 00:18:06,450 The letter I rejected for it had nothing to do with an exploited people, with a society that crushed and humiliated its slaves. 160 00:18:06,450 --> 00:18:12,840 No, I decided that my painting would never be the equivalent of that pseudo Cuban music for nightclubs. 161 00:18:12,840 --> 00:18:19,050 I refused to paint. Cha cha cha cha. I want to rule my heart to paint the drama of my country. 162 00:18:19,050 --> 00:18:24,070 But by thoroughly expressing the Negro spirit beauty of the plastic after the blacks. 163 00:18:24,070 --> 00:18:28,170 In this way I could act as a Trojan horse that would spew forth hallucinating 164 00:18:28,170 --> 00:18:34,390 figures with the party's surprise to disturb the dreams of the exploiters. 165 00:18:34,390 --> 00:18:43,410 And I just see a little bit about them and and says Negritude trumpet was the precursor of Negritude. 166 00:18:43,410 --> 00:18:52,830 But in fact, its chief animators, Tropiques, took very different views of Negritude a while, says I was one of its foremost exponents. 167 00:18:52,830 --> 00:18:56,670 Manil was one of its most trenchant critics for Manil. 168 00:18:56,670 --> 00:19:05,400 It became a dangerously reductive political ideology based on an essentialist notion of identity which merely inverted black white values. 169 00:19:05,400 --> 00:19:13,140 LAMS position, while still sympathetic to the pertschuk uses to which his output negritude basically agreed with Manil. 170 00:19:13,140 --> 00:19:18,750 Responding to the acquisition of black racism, Lambe replied, It's a false accusation. 171 00:19:18,750 --> 00:19:25,080 They say that because I don't paint like a European, because I try to paint with the idiosyncrasy of my people, 172 00:19:25,080 --> 00:19:29,330 the personages in my paintings, and neither white nor black. They lack race. 173 00:19:29,330 --> 00:19:36,600 I am not in agreement with the doctrine negritude either. It's not a matter of race, but of the class struggle. 174 00:19:36,600 --> 00:19:43,710 So this is the jungle land painted it in 20 days in December 1942. 175 00:19:43,710 --> 00:19:57,050 And what you see standing, standing out against a vibrant, pulsating canvas of yellows, blues and greens is a blanched moonlit arm with long fingers, 176 00:19:57,050 --> 00:20:05,400 which gestures towards a group of strange and sometimes menacing figures, half hidden amongst the sugar canes and the papaya and the breadfruit. 177 00:20:05,400 --> 00:20:09,570 Trees raised on belongs to a carrot on the left of the painting. 178 00:20:09,570 --> 00:20:16,170 Who is, Lam remarked, as if it would experience a revelation at the sight of the other personages in the painting, 179 00:20:16,170 --> 00:20:25,530 astonished by the discovery of this whole universe. The Jungle Frankie quotes Picasso's Demoiselle d'Avignon, 180 00:20:25,530 --> 00:20:32,580 but his reference to Picasso is of a different kind from the broad formal resemblance between LAMS paintings of the late 1930s. 181 00:20:32,580 --> 00:20:40,960 Such as this one here, this very simplified, flattened figure with strong black outlines, mosque like figures of mosque like features. 182 00:20:40,960 --> 00:20:48,720 And I think the relationship of the Demarzo Davino, which you see on the right here, Picasso's painting from 1987, is actually all that different. 183 00:20:48,720 --> 00:20:56,040 The jungle deliberately sets up a dialogue with the Demoiselle, the five figures in the jungle, 184 00:20:56,040 --> 00:21:02,730 which are the sets made up of fragments of different bits of bodies with most black faces, 185 00:21:02,730 --> 00:21:07,590 and one of them on the right hand side who who seems to support a large breast 186 00:21:07,590 --> 00:21:12,780 or the lack of fruit and is clutching a pair of scissors and the others. 187 00:21:12,780 --> 00:21:22,140 You can just about make out that they can submerge in the background and they range in shallow relief across the picture surface. 188 00:21:22,140 --> 00:21:31,920 The gesture of the one on one on the left and the Demarzo that's from here whose dark head derived 189 00:21:31,920 --> 00:21:38,450 from Primitivist Gugga acknowledges the scene as in the jungle and presents it to the spectators. 190 00:21:38,450 --> 00:21:43,530 Picasso turns the other four women inhabitants of the brothel in Avenue and Street. 191 00:21:43,530 --> 00:21:50,760 That's where the touch of the painting comes from. He transforms them into terrifying gorgons. 192 00:21:50,760 --> 00:21:57,470 And it's one of his most misogynist images. It's as if they're staring a spectator into stone land. 193 00:21:57,470 --> 00:22:05,100 Transposes the ambiguity of the Demarzo with its rough overlay of masks on the decadent pink bodies of the prostitutes into a tropical setting. 194 00:22:05,100 --> 00:22:11,220 The figures are also lifesize and confront us with a mixture of nude sexuality, an impenetrable ritual. 195 00:22:11,220 --> 00:22:17,670 Mosques like Lambe explained that he's actually condemning what happens in the jungle. 196 00:22:17,670 --> 00:22:24,780 Look at my monsters. The gestures they make. The one of the right offers her Horsh seem like a great prostitute. 197 00:22:24,780 --> 00:22:32,250 Look also at the scissors being brandished. My idea was to represent the spirit of the blacks in the situation which they found themselves. 198 00:22:32,250 --> 00:22:40,730 I showed through poetry the reality of acceptance and a protest contrasting his jungle with those of obvious who. 199 00:22:40,730 --> 00:22:48,960 So I put up the dream here. And as they had begun to discover by this time, Russo, of course, 200 00:22:48,960 --> 00:22:54,090 never travelled to the jungle, he painted what was in the gendarme deployment in Paris. 201 00:22:54,090 --> 00:23:02,670 But this is this is one of his most famous jungle paintings. But Lam said, contrasting his jungles with those of Rousseau. 202 00:23:02,670 --> 00:23:07,470 He was a formidable painter, but he doesn't belong to my natural chain. 203 00:23:07,470 --> 00:23:10,380 He doesn't condemn what happens in the jungle. 204 00:23:10,380 --> 00:23:18,100 I do lamas equally remote from the celebration of picturesque Cuba, the kind of Cha-Cha he was talking about, 205 00:23:18,100 --> 00:23:26,190 and a comparison with the celebrated painting by Mario Cranio Afro Cuban Dance 1943 highlights the differences. 206 00:23:26,190 --> 00:23:32,370 Crania depicts two figures a bare breasted nightclub dancer and WTO on the left, 207 00:23:32,370 --> 00:23:37,780 the latter a popular subject in 19th century custom costume Brister paintings is the stereotype 208 00:23:37,780 --> 00:23:43,720 of the exotic tropical scene to entertain the viewer with a frisson of lust and danger. 209 00:23:43,720 --> 00:23:50,980 Lambi Contrast confronts the viewer. Justice Macassar does with an ambiguous challenge to their expectations. 210 00:23:50,980 --> 00:24:00,960 And this is a study for that for the jungle. A similar but not identical figure from the right hand side of the of a large canvas. 211 00:24:00,960 --> 00:24:05,790 So I think the transformation lends imagery and style. On his return to Cuba involvement, 212 00:24:05,790 --> 00:24:13,200 so much a rejection of his parents period as a breakthrough in which serious ideas found a wholly original expression. 213 00:24:13,200 --> 00:24:20,790 There was a change in the way in which the paint painters applied and the hybrid creatures emerge out of or meld into their settings. 214 00:24:20,790 --> 00:24:33,400 This is a alter to a lingua. One of the theory Chauvel spirits in the centre of religion in Cuba and altered various various objects on it. 215 00:24:33,400 --> 00:24:37,350 But I think in large paintings like these. This is 1943. 216 00:24:37,350 --> 00:24:45,960 Colour is applied and loose streaks, dabs and washes or in luminous shifting clouds of bright pigment dusted over the surface. 217 00:24:45,960 --> 00:24:53,000 This is not to imply an abstraction or separation of colour from the subject of the paintings, but rather to point up a freeing of the hand, 218 00:24:53,000 --> 00:25:02,370 a spontaneity of gesture that seems to be integral to his representation of the world of Orishas and other personages of the imagination. 219 00:25:02,370 --> 00:25:10,410 Lam credited automatism with releasing memories from his Cuban childhood, and I quote, in an automatic manner. 220 00:25:10,410 --> 00:25:14,040 As the surrealists say, this world leaked out from me. 221 00:25:14,040 --> 00:25:20,760 That is to say, I carried all this in my subconscious and letting myself get carried away by automatic painting. 222 00:25:20,760 --> 00:25:26,640 This strange world sprung out. 223 00:25:26,640 --> 00:25:36,480 And I think the renewed interest in automatism amongst us to listen to the early 1940s partly emerged in their experience in Martinique, 224 00:25:36,480 --> 00:25:40,220 in the in the jungle of Lamen, Cuba, in Martinique, 225 00:25:40,220 --> 00:25:48,050 Brett and his family were joined by Massen and they were all bowled over by the tropical beauties of Martinique. 226 00:25:48,050 --> 00:25:53,660 They published very lyrical Creole dialogue in a small collaborative book called Martinique. 227 00:25:53,660 --> 00:25:58,280 Sean goes to South Pole, Martinique, Sutent, trauma. 228 00:25:58,280 --> 00:26:03,200 My quote from the book, The Lliana Flower is to slender to white to be a star. 229 00:26:03,200 --> 00:26:08,330 It could only slip from a silts letter when you managed to make up their forms in their entirety. 230 00:26:08,330 --> 00:26:14,880 These lines and talking about visita so upright, so tall, are truly the half of the earth. 231 00:26:14,880 --> 00:26:19,070 The muscles and paintings and drawings such as this one here of the vegetation, 232 00:26:19,070 --> 00:26:28,810 Martinique, where a fervent rediscovery of free and spontaneous gestures. 233 00:26:28,810 --> 00:26:35,590 And when when Britain arrived in New York, he immediately published his artistic genesis in perspective of surrealism, 234 00:26:35,590 --> 00:26:44,410 which reaffirmed the notion of automatism with a new tolerance from automatism that was not strictly pure, 235 00:26:44,410 --> 00:26:56,560 as it had rarely been anyway for the artists. And I quote, Automatism inherited from the medium's has remained once realisms to great directions, 236 00:26:56,560 --> 00:27:01,360 since it is automatism that is a rass and still arouses the most violent controversy. 237 00:27:01,360 --> 00:27:10,090 It cannot be too late to seek to analyse its function rather more deeply, and so try to sway the argument decisively in its favour. 238 00:27:10,090 --> 00:27:14,290 Contemporary psychological research has suggested that a comparison can be drawn 239 00:27:14,290 --> 00:27:18,280 between the construction of a nest by a bird and the beginning of a melody that 240 00:27:18,280 --> 00:27:22,480 is in the process of establishing a definite theme without prejudice to the deep 241 00:27:22,480 --> 00:27:27,100 individual tensions that graphic and verbal automatism brings to the surface. 242 00:27:27,100 --> 00:27:35,360 I maintain that this is the only mode of expression which gives full satisfaction to both eye and ear by achieving rhythmic unity, 243 00:27:35,360 --> 00:27:41,350 justice recognised when in an automatic drawing or text, as in a melody or a bird's nest. 244 00:27:41,350 --> 00:27:48,670 The only structure that corresponds to the by now widely acknowledged non differentiation between sympathetic and formal qualities. 245 00:27:48,670 --> 00:27:56,800 I will concede that it is possible for automatism to enter into the composition of a painting or a poem with a certain degree of premeditation. 246 00:27:56,800 --> 00:28:02,330 But the converse holds true in any form of expression which automatism does not at least advance on. 247 00:28:02,330 --> 00:28:11,170 The cover runs a grave risk of moving out of the surrealist orbit, and Lemon commented on his own paintings and drawing the same fate. 248 00:28:11,170 --> 00:28:19,930 They include they contain the rhythm of the automatic work. 249 00:28:19,930 --> 00:28:29,560 I just want to say a little bit about about LAMS that the painting of the Cuban Santeria religion 250 00:28:29,560 --> 00:28:37,660 and so broad difference between his paintings and that of the artist Hippolyte in Haiti. 251 00:28:37,660 --> 00:28:46,750 This is a painting by a by Hippolyte on the right hand side here, which shows Shangrila the story. 252 00:28:46,750 --> 00:28:51,370 I'll go for I, who was the God of war. And I'm now. 253 00:28:51,370 --> 00:29:00,190 When Breteau visited Haiti and spoke to Hippolyte, he asked him what he thought of Lambis paintings, 254 00:29:00,190 --> 00:29:09,030 which Breton was then hanging for an exhibition in in in in in Haiti at the potted plants up centre. 255 00:29:09,030 --> 00:29:15,610 And Hippolyte affirmed a vigorous and deferentially interest in them, while still retaining a slight error of reserve, 256 00:29:15,610 --> 00:29:24,070 because in his view, it was Chinese magic rather than the African magic, which was, he implied, his own province of knowledge. 257 00:29:24,070 --> 00:29:31,810 I think that the point really is that that hitherto there was almost no two dimensional 258 00:29:31,810 --> 00:29:39,220 representation of the various spirits and ideas and beliefs in Santería or in Haitian voodoo. 259 00:29:39,220 --> 00:29:44,350 On the left, I put up a typical sort of set of offerings, which is very often very syncretic. 260 00:29:44,350 --> 00:29:51,040 This one, as you can see, includes a crucifixion as well as the kind of sign them, which is typical of this century. 261 00:29:51,040 --> 00:29:57,880 This is from the museum at Gwyneth Bacau near Havana. But there was no tradition of painting. 262 00:29:57,880 --> 00:30:03,870 Not like the Christian religion, which, of course, you know, has this magnificent tradition of two-dimensional imagery. 263 00:30:03,870 --> 00:30:11,380 And typically, it was the first artist, really. And he was also a priest to try and represent the parishes. 264 00:30:11,380 --> 00:30:19,360 That is the the the spirits of this world in two dimensions. 265 00:30:19,360 --> 00:30:34,420 But he is, I think, more interested actually in in in in in sense making a record of them. 266 00:30:34,420 --> 00:30:37,150 I mean, this this is almost like a sort of icon, 267 00:30:37,150 --> 00:30:45,580 whereas Lam is drawing from a whole series of different sources and his paintings constitute a very complex imaginary, 268 00:30:45,580 --> 00:30:53,440 which has the power to convey contradictory meanings and to encompass satire and humour as well as politics and supernatural. 269 00:30:53,440 --> 00:31:01,570 So he was familiar with the ceremonies objects associated with Cuba's most widespread religious practises in Centera. 270 00:31:01,570 --> 00:31:12,040 But he wasn't a practitioner, unlike Hippolyte. This one is painting who malem the God of the crossroads. 271 00:31:12,040 --> 00:31:19,660 And this is personages, which I think. 272 00:31:19,660 --> 00:31:33,270 It's stunning. Well, where you can see the. 273 00:31:33,270 --> 00:31:40,820 The heads, the twin heads of the operation and has a leg war which are linked to reversible. 274 00:31:40,820 --> 00:31:45,890 And they recall both the secret twins of Haitian voodoo and I think the reversible 275 00:31:45,890 --> 00:31:50,400 halfling figures of the court pictures in playing cards and two of these. 276 00:31:50,400 --> 00:31:59,450 The Alice and Luke Hemel are part of the game of playing cards that the surrealists invented in in Marseilles. 277 00:31:59,450 --> 00:32:14,740 And all of them produced new versions of the King, Queen and Jack using surrealist heroes and heroines. 278 00:32:14,740 --> 00:32:27,080 OK. So like this realist's laptop or next attitude, 279 00:32:27,080 --> 00:32:33,800 the contradictions in their position of trying to combine dialectical materialism with the defence of superstition and magic. 280 00:32:33,800 --> 00:32:41,030 And it's the perfect as well as the political that that lamb is is interested in. 281 00:32:41,030 --> 00:32:44,120 And he didn't usually employ specific symbology. 282 00:32:44,120 --> 00:32:51,770 He said, I never created my pictures in terms of a symbolic tradition, but it was on the basis of a poetic excitation. 283 00:32:51,770 --> 00:32:58,910 I believe in poetry. For me, it is the great conquest of mankind. Revolution, for instance, is a poetic creation. 284 00:32:58,910 --> 00:33:17,030 I say everything through the pictorial image. Now, I'm going to move now to the other two magazines, Triple V and view the Butt. 285 00:33:17,030 --> 00:33:25,810 And I want to talk a little bit about Britain's Proleague Germana to a third manifesto of surrealism or for I should be or not. 286 00:33:25,810 --> 00:33:40,920 Probably. The magazine was crucial for the survival and identity of the surrealist group in exile. 287 00:33:40,920 --> 00:33:49,440 The that the propaganda to a thirst for his manifesto or not was the most important publication. 288 00:33:49,440 --> 00:33:53,830 The most important essay in the first issue of Triple V, 289 00:33:53,830 --> 00:34:00,250 Britain was faced with the bankruptcy of previous modes of knowledge and intervention, including communism. 290 00:34:00,250 --> 00:34:06,030 And he speculates on what is left. And he asks, kind of society exist without a social myth. 291 00:34:06,030 --> 00:34:08,100 But he's unable to give an answer. 292 00:34:08,100 --> 00:34:17,550 He does, however, suggest that to begin with, it would not be a bad idea to convince man that he is not necessarily the camp creation as he boasts. 293 00:34:17,550 --> 00:34:23,520 Whatever the new social myth might be, it must challenge conventional means of thinking. 294 00:34:23,520 --> 00:34:26,850 He ends with a section that he calls Licorne plans Home. 295 00:34:26,850 --> 00:34:34,140 The Great Invisibles, which we've had illustrations by Roberto Matter which you can, which you can just about make out here. 296 00:34:34,140 --> 00:34:37,290 And here he suggests and apparently science fiction mode. 297 00:34:37,290 --> 00:34:48,630 But there is no reason not to think that there exist above man beings whose behaviour is as alien to his as his own must be to the mayfly or well. 298 00:34:48,630 --> 00:34:55,980 And I think there is more of dada in this than one might think that it's captured in these rather mysterious terms. 299 00:34:55,980 --> 00:35:04,980 But most influential in the contents of Triple V was the shift away from the human psyche towards nature, including the tropical. 300 00:35:04,980 --> 00:35:17,750 But I just love this. This is a small interlude picking up on the question of automatism and the the problem of the, 301 00:35:17,750 --> 00:35:22,170 as it were, the disavowal of realisms influence in New York. 302 00:35:22,170 --> 00:35:33,780 I put up here a painting by Massen done while he was living in Connecticut in the United States in the mid 1940s called Pacify, 303 00:35:33,780 --> 00:35:39,960 and also one of his seven paintings, one of the earlier automative sand paintings. 304 00:35:39,960 --> 00:35:50,220 And I would suggest that there is obviously a link and a relationship with Pollock's paintings, as Jackson Pollock is four thousand five, 305 00:35:50,220 --> 00:35:57,570 which is a painting very difficult to see this in reproduction, but it's a painting that is encrusted with with with other materials, 306 00:35:57,570 --> 00:36:02,910 with with bits of sand and other stuff that focus has stuck on. 307 00:36:02,910 --> 00:36:11,940 And obviously, the free gestural movement of the paint is related to muscles work. 308 00:36:11,940 --> 00:36:19,440 And I put up here, Pollock's painting could pacify the same subject as my songs above. 309 00:36:19,440 --> 00:36:27,900 Maslen specify just really two to emphasise the fact which is which is one that William Rubin was always very, 310 00:36:27,900 --> 00:36:33,690 very keen also to to acknowledge and to celebrate that. 311 00:36:33,690 --> 00:36:47,670 Artists like Call-up did a great deal to surrealism. But really it was it was it was very hidden under the desire to create a new American painting. 312 00:36:47,670 --> 00:36:51,250 And that was the rhetoric was associated with it. 313 00:36:51,250 --> 00:37:03,600 And that night triggered the nor view actually reproduce any of the automatism works by by the abstract expressionist, 314 00:37:03,600 --> 00:37:16,020 which is which is also quite interesting. Lenore Carrington published her extraordinary text down below about her madness in Triple V. 315 00:37:16,020 --> 00:37:23,790 But I want to just spend a little time looking at another artist for whom the tropics and the jungle were very important. 316 00:37:23,790 --> 00:37:34,890 Inspiration, though, in a in a much more accepting way than the land is ambivalent and slightly satirical view of the jungle. 317 00:37:34,890 --> 00:37:39,900 This is an artist called Maria Martine's hootenannies, Maria. 318 00:37:39,900 --> 00:37:49,350 This this page from the final issue of Triple V shows a work of hers called Macumba reproduced above a paper, 319 00:37:49,350 --> 00:38:02,320 a poem by it says our called back took but took is the apparently the word for the rhythm of the TAM town in Brazil. 320 00:38:02,320 --> 00:38:11,030 Britain wrote a preface to Maria's 1947 exhibition in New York, he'd first seen her work in 1943 in New York. 321 00:38:11,030 --> 00:38:22,850 But he wrote in his preface of a sort of celebration of the South, by contrast with the North. 322 00:38:22,850 --> 00:38:29,210 And I quote, During the last few years, the breadth of the human spirit has not ceased to blow from warm lands. 323 00:38:29,210 --> 00:38:33,110 Another wind, which seems nowadays to consist of solid blocks of ice, 324 00:38:33,110 --> 00:38:41,030 whistles faintly down the chimneys of Europe to discover nothing but naked grates or bars on which thin, tangled vine stalks a smoothing, 325 00:38:41,030 --> 00:38:47,420 not giving off heat for little Maria's sculpture is indissolubly linked to her own, 326 00:38:47,420 --> 00:38:54,620 and her country's annual resculpt to begin began by carrying on its shoulders a whole legend. 327 00:38:54,620 --> 00:39:03,650 I quote, which they call it at the water itself by the veins of her land was no less than the Amazon, which sends through the works that I so admire. 328 00:39:03,650 --> 00:39:12,200 In 1943 in New York, which sang the words Immemorial Voices of Man's Passion from birth to death, that the Indian tribes, 329 00:39:12,200 --> 00:39:20,330 which had succeeded each other along its treacherous banks, have known better than anyone how to condense in the most encompassing symbols. 330 00:39:20,330 --> 00:39:25,130 This elegant interweaving this passage from Breton's preface of the natural world. 331 00:39:25,130 --> 00:39:30,920 The sculpture and the legends that inspired Maria's work concentrates in the term de Côté, 332 00:39:30,920 --> 00:39:37,630 which hints at the female body disclosed as well as being a Strachey metaphore, the vegetation emerging from the waters of the Amazon. 333 00:39:37,630 --> 00:39:52,110 And it's clear that that that that nature and the tropics of the hymns was seen through this this seductive sculpture and stuck to sculptress. 334 00:39:52,110 --> 00:39:58,800 To accompany her exhibition that the Valentine Gallery in New York in 1943, she published Amazonia, 335 00:39:58,800 --> 00:40:03,960 a series of text based on the legends of the gods and spirits of the Amazon. 336 00:40:03,960 --> 00:40:15,430 The introduction by Hocking Settled situates her text in relation to the Indian people of Amazonia who have a fascinating folklore and tradition. 337 00:40:15,430 --> 00:40:22,290 Now, some of the gods that she includes, such as Yemanja here, would not be thought of as Afro Brazilian. 338 00:40:22,290 --> 00:40:29,760 But Marine's approach is to locate her stories in the Indian Amazon and treat income as such as Yemanja or Ayaka, 339 00:40:29,760 --> 00:40:36,900 as having chosen Brazil as their new home. Iacocca's another of her characters, 340 00:40:36,900 --> 00:40:44,630 came to Brazil from a distant land and quittin Maria and was so entranced by the country that she made Amazonia her domain. 341 00:40:44,630 --> 00:40:54,840 In the sculpture, Cobra Grandi hit the undulating body of the serpent sprouting breasts rises to touch the vegetation, 342 00:40:54,840 --> 00:40:59,250 arches up on each side, both here and with Macumba. 343 00:40:59,250 --> 00:41:14,520 Maria has created in tast seen figures and animals in the tropical setting rather than showing a single isolated figure. 344 00:41:14,520 --> 00:41:18,480 Brittle described Macumba as a hymn to the God of spasm, 345 00:41:18,480 --> 00:41:26,880 in which the flesh yielding like the blood of a flower becomes impregnated with all the strange dendritic markings of the native metal. 346 00:41:26,880 --> 00:41:32,150 And I think with his reference to dendritic will treelike structures of native metalworking, 347 00:41:32,150 --> 00:41:39,630 Britain points to the arms sculptures of Haitian voodoo artists such as this work by Murat Brijesh, 348 00:41:39,630 --> 00:41:52,810 who tree snake Lir in which the lower is like a Brazilian, a reesha or spirit or God, particular powers related to that arena of activity. 349 00:41:52,810 --> 00:42:01,980 And I think this this this one with its snake like tentacles have branches in central stalk is is not entirely unlike Maria's work. 350 00:42:01,980 --> 00:42:12,780 I'm just going to show very quickly that some of her work that was shown in the 1947 exhibition in Paris, 351 00:42:12,780 --> 00:42:22,200 which was sarcasms attempt to return to its former position of eminence in the artistic and cultural world in Paris, didn't have in Paris succeed. 352 00:42:22,200 --> 00:42:31,800 But it was a very extraordinary exhibition. And it's interesting that her the world, the shadow, too long, too narrow, was reproduced above. 353 00:42:31,800 --> 00:42:39,420 David has suicide. The catalogue for this exhibition was designed by Marcel Duchamp. 354 00:42:39,420 --> 00:42:49,590 And it had a hand painted falsey on the front of the deluxe edition with the title Please Touch. 355 00:42:49,590 --> 00:43:04,490 And I should say that this is from the Eros exhibition of a 1959 1960 where Marie was included as one of today's surrealists together with up sorry, 356 00:43:04,490 --> 00:43:15,090 together with with Duchamp, those Maria with a sculpture called Impossible, which I think is really her masterpiece. 357 00:43:15,090 --> 00:43:25,650 It exists in plaster and in bronze. And it shows two figures. 358 00:43:25,650 --> 00:43:31,720 One is a bust. They always halflings confronting each other with their heads strikingly transformed. 359 00:43:31,720 --> 00:43:37,350 I would like to galvanise CNN and is from supan circumference of the two empty faces, 360 00:43:37,350 --> 00:43:41,970 hence both of them desperately reaching out of shivering with aggressive force, 361 00:43:41,970 --> 00:43:48,270 simultaneously attracting and repulsion repulsing above Reforger Connexions often made with Maria's 362 00:43:48,270 --> 00:43:54,810 personal life at this time when choosing get involved in intense love affair with Marcel Duchamp. 363 00:43:54,810 --> 00:44:04,050 And she was the inspiration behind his last major work. The room was kept secret until his death in 1968 the at on Doney. 364 00:44:04,050 --> 00:44:09,570 But I think Impossible could as well have been inspired by the wider context of a world war nearing its end. 365 00:44:09,570 --> 00:44:21,630 In 1944, when she began the first version, she said in 1946, just off the end of the war, the world is complicated and sad. 366 00:44:21,630 --> 00:44:25,440 It is nearly impossible to make people understand one another. 367 00:44:25,440 --> 00:44:32,460 Impossible is one of the most powerful images in the 20th century of the dystopian human condition of desire and conflict. 368 00:44:32,460 --> 00:44:41,370 But the clash of opposing forces and a basic failure to communicate. 369 00:44:41,370 --> 00:44:54,630 So I go back to Triple V and I want to end by looking at triple V and briefly at Vue magazine, which has been all squeezed up tonight. 370 00:44:54,630 --> 00:45:09,090 I'm sorry about that. In in relation to their represent that that presentation of of Duvall's work and of Cornell in V V V, 371 00:45:09,090 --> 00:45:13,980 very little contemporary American art was represented, in fact, almost nothing. 372 00:45:13,980 --> 00:45:21,990 The emphasis is is almost exclusively on indigenous America, the tropics and Europe. 373 00:45:21,990 --> 00:45:25,260 The first issue did attempt to link two American writers. 374 00:45:25,260 --> 00:45:33,700 Howard Rosenberg contributed an aggressive text called Life and Death of an Amorous Umbrella, attacking some core beliefs of surrealism. 375 00:45:33,700 --> 00:45:40,290 And the experiment was then not repeated, and the magazine really tended to close ranks. 376 00:45:40,290 --> 00:45:50,490 But I've just shown one of the works by Ducharme here he was did the cover for this issue, which is the head of Washington. 377 00:45:50,490 --> 00:45:55,220 This was actually commissioned for a cover of Vogue magazine. 378 00:45:55,220 --> 00:46:02,270 And it was rejected because the the red paint on the walls was too reminiscent of wounds and bandages. 379 00:46:02,270 --> 00:46:09,930 And so it's reproduced in triple V instead. And if you turn it round, you can see that it's well served the United States itself. 380 00:46:09,930 --> 00:46:17,280 It's called allegory of genre, not view. 381 00:46:17,280 --> 00:46:22,350 By contrast, as its name promised, took a broad view of the avant garde. 382 00:46:22,350 --> 00:46:30,420 It was a very important conduit for surrealist art and poetry while not losing touch with modern American culture. 383 00:46:30,420 --> 00:46:39,680 It was small, precious and chatty. Parker Tyler recalled the rivalry it was felt when VVS started up its editor. 384 00:46:39,680 --> 00:46:43,140 The artist David Hare was Britain's third choice. 385 00:46:43,140 --> 00:46:50,010 Had previously asked Robert Motherwell and then Charles Henry Ford, who had both refused and I quote Parker Tyler's memoirs. 386 00:46:50,010 --> 00:46:57,810 Soon there appears 100 per cent surrealist rival magazine Short-Lived, though it be Triple V or V.V., as it is called. 387 00:46:57,810 --> 00:47:03,870 We conclude that obvious it is meant to be three times as good as viewed. 388 00:47:03,870 --> 00:47:12,580 So there was a kind of rivalry between Triple V and view and and view, as I say, included a lot of surrealists. 389 00:47:12,580 --> 00:47:18,670 It dedicates specific issues to individual artists from the surrealist movement. 390 00:47:18,670 --> 00:47:25,130 But it also insisted on on showing modern American artists, as you can see here. 391 00:47:25,130 --> 00:47:35,180 I put on an advertisement there on the left view from Touba, an American number, and it also included like V, V, V, Tropical Americana. 392 00:47:35,180 --> 00:47:45,720 And this this is the series five number two, May 1945 issue on Tropical Americana presented by Paul Bowles. 393 00:47:45,720 --> 00:47:54,840 One of the most striking of the issues of view is this one from 1945 with a cover by Duchamp. 394 00:47:54,840 --> 00:48:07,050 And I think Duchamp used to have such an enormous impact on post-war American art as well as on post-war European art is actually very important. 395 00:48:07,050 --> 00:48:16,290 Sources for his influence was this issue of view, the cover on the others on the left, him on the right as the back cover, 396 00:48:16,290 --> 00:48:27,360 which is one of the first public appearances of DU forms notion of the thing that Afan Mass, which is and it's it's. 397 00:48:27,360 --> 00:48:30,840 Remember, this is somebody who has given up painting. 398 00:48:30,840 --> 00:48:34,710 He's given up producing work for exhibitions. He's almost given up. 399 00:48:34,710 --> 00:48:41,400 Perhaps he's noticed at all, though, clearly from this kind of this kind of activity, he's holding something. 400 00:48:41,400 --> 00:48:54,720 But it's become very minimal and even liminal. And this influence here, the little statement says when the smoke of tobacco also smells of the mouth, 401 00:48:54,720 --> 00:49:01,200 that it says it too smells, marry, buy in for them. 402 00:49:01,200 --> 00:49:01,440 Right. 403 00:49:01,440 --> 00:49:15,210 So it may be rather rather a peak, but I shall come back to talk about the influence in a bit more next week inside the this issue of the magazine. 404 00:49:15,210 --> 00:49:22,420 There is an extraordinary fold-out sort of photo collage of Duchamp's work. 405 00:49:22,420 --> 00:49:25,590 And because it's so difficult on stand, I've actually brought a copy with me. 406 00:49:25,590 --> 00:49:30,720 If anybody wants to see how it works. Do come out afterwards and have a look at it. 407 00:49:30,720 --> 00:49:38,700 It shows on the left hand side, the left page here with two flats folded in the right hands. 408 00:49:38,700 --> 00:49:46,560 The facts are fold out and you can see Duflo himself sitting in this historic collage of all his works, 409 00:49:46,560 --> 00:49:54,570 including tumour and the large glass set within a scene from the city of New York. 410 00:49:54,570 --> 00:50:00,210 This is by the architect and artist, Kiesler. 411 00:50:00,210 --> 00:50:07,110 And on the back cover, you see the name artist and long term. 412 00:50:07,110 --> 00:50:11,100 That's 1887. That's due Seans date of birth. 413 00:50:11,100 --> 00:50:15,870 And beneath that name, artist and volatile 1877. That was Kiesler. 414 00:50:15,870 --> 00:50:26,250 And the photograph here shows the installation of the 1942 First Papers of Surrealism exhibition at it in New York. 415 00:50:26,250 --> 00:50:33,780 That was the exiles witnessed first show there. And the installation was by Duchamp. 416 00:50:33,780 --> 00:50:43,110 And as you can see, it was an installation that was basically a frustrating one because Duchamp. 417 00:50:43,110 --> 00:50:45,350 He's. Well, could he spread? 418 00:50:45,350 --> 00:50:55,100 He he entangled the works in the show in what he called a mile of string, which meant it's very difficult to get in to see what was there. 419 00:50:55,100 --> 00:51:06,570 And it's like an enormous web. And I'm also going to be talking more about string string as a medium next week. 420 00:51:06,570 --> 00:51:18,240 And the the final artist I want to look at from view is someone who was really up to the contrast with those I've been talking about so far, 421 00:51:18,240 --> 00:51:28,340 and that is Joseph Connell. And I wanted to show him because I think it's quite interesting how whereas the surplus in Triple V on the whole book, 422 00:51:28,340 --> 00:51:40,960 VTB did not take to the Natalya American Art at Cornell is one of the great masters at combining surrealism with the vernacular. 423 00:51:40,960 --> 00:51:49,710 This this is two pages from his tech school, The Crystal Cage from View, the extraordinary imaginative text. 424 00:51:49,710 --> 00:51:59,520 This is one of his a page from The From View in 1941 to about Hedy Lamarr. 425 00:51:59,520 --> 00:52:08,520 He was he was obsessed and infatuated by the film stars and by ballet dancers. 426 00:52:08,520 --> 00:52:13,980 And some of his best work, I think is is actually a way of celebrating this. 427 00:52:13,980 --> 00:52:24,750 This is Hamish and Lauren Bacall. So Hollywood, I mean, he manages to to make this sort of bridge between Hollywood and and surrealism. 428 00:52:24,750 --> 00:52:29,610 He uses boxes. He uses always ready made materials. 429 00:52:29,610 --> 00:52:39,210 He uses photographs put together in this very alluring and lyrical way. 430 00:52:39,210 --> 00:52:49,470 And this is a one of the untitled boxes, which includes all sorts of little found objects, little little bits and pieces, 431 00:52:49,470 --> 00:52:56,580 little bits of Americana, little things picked up on the beach, put in this in a grid, in a formal grid. 432 00:52:56,580 --> 00:53:07,800 And I think is very interesting. Also, he sort of touches on abstract art as well as on surrealism. 433 00:53:07,800 --> 00:53:14,580 And I'm going to end with one of his sand fountain boxes. 434 00:53:14,580 --> 00:53:20,900 One of the sad things about works of art in museums is that you can't handle them. 435 00:53:20,900 --> 00:53:31,740 And with this is particularly problematic because his many of the boxes, all men in boxes are actually made to be picked up, tilted, shaken. 436 00:53:31,740 --> 00:53:37,200 And so this is a SAM counter that actually belonged to Duchamp was given to him. 437 00:53:37,200 --> 00:53:42,480 And the sand is is tilted into a into a cavity at the back. 438 00:53:42,480 --> 00:53:47,850 And then it's turned the right way out. It pulls out onto a broken glass. 439 00:53:47,850 --> 00:53:54,570 And so it's it's actually it's kind of a walk in action as well as being, you know, 440 00:53:54,570 --> 00:54:03,900 sort of forming very, very, very fine piece of piece of that sort of structure, construction. 441 00:54:03,900 --> 00:54:15,780 And I want to to to pick up next week and talk more about the but the ephemeral about it works that 442 00:54:15,780 --> 00:54:25,350 should be handled and how these relate to a post-war sort of rediscovery of data and of surrealism. 443 00:54:25,350 --> 00:54:28,222 Thank you.