1978
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A FOUNDRY OF THE FIGURE: ANTONIN ARTAUD. By Stephen Barber. If there is a culture it is always alive and burns things up. – Antonin Artaud. OVER THE LAST THIRTY YEARS, the emotional and intellectual impact of the work of Antonin Artaud has been colossal. The ideas of a Theater of Cruelty that he set out in the 30s have permeated the stages of ...
MODERNISM WITHOUT ORGANS: ANTONIN ARTAUD. Abel Gance, Napoléon, 1927. Production still. Marat (Antonin Artaud). SINCE THE PUBLICATION of Peter Bürger’s Theory of the Avant-Garde, importantly inflected by Benjamin H. D. Buchloh and Hal Foster, we have understood postwar art as conditioned by the progressive recovery of the legacies of avant ...
A CINEMA OF CRUELTY: ANTONIN ARTAUD. By Stephen Barber. In September 1987, Artforum published “A Foundry of the Figure: Anton in Artaud,” an excerpt from Stephen Barber’s forthcoming book on Artaud. What follows is a second section of the book—an examination of Artaud’s work in film.
After the “Spells,” the barely coherent bouillabaisse drawings are the most emotionally primitive of Artaud’s works on paper. “Composites” of imagistic fragments, mostly of parts of the body, they suggest that Artaud had reached the final stage of disorder. Throughout his life he was embarrassed by his body, and now he no longer had ...
With María Izquierdo (1906–56) and Frida Kahlo (1907–54), two artists who died relatively young, surrealism flows from its source—the unconscious—and not from a willed design. Of all the artists Antonin Artaud saw during his trip to Mexico in 1936, he was most taken with Izquierdo: the melange of mastery and naivete in her paintings ...
Earlier, in 1926, as a result of one of the movement’s self-examinations—in effect kangaroo courts held by Breton—Artaud, along with Soupault, was officially expelled for “the isolated pursuit of the stupid literary adventure.” Desnos was also criticized for practicing bourgeois journalism.
Antonin Artaud’s scenario, The Seashell and The Clergyman, and Germaine Dulac’s realization of it have caused a turmoil of controversy ever since the film was first shown on February 9, 1928. At the premier screening, the Surrealist group led by Artaud and Desnos fomented a small uprising in protest because Artaud was dissatisfied with Miss Dulac’s interpretation and disappointed that she had not allowed him to assist in the shooting or play the part of the clergyman.
These doctrines of salvation and social utopia, often mingled with a longing for an imagined past, are both passed around within circles or cliques (declarations like those of Futurist revolution or Constructivist edification are the products of such groups) and are incorporated in the building of isolated cells inhabited by solitary mystics—Antonio Gaudi, Hermann Finsterlin, Antonin Artaud, and Marcel Duchamp, for example.
Each reference would consist of a 30-second take. Here is a list of the takes in alphabetical order: Abstract Expressionism, Agee James, Alexandrov Grigory, Allen Lewis, Anger Kenneth, Antonioni Michelangelo, Aristarco Guido, Arnheim Rudolf, Artaud Antonin, Astruc Alexandre. Only the letter A gives this index its order. Where is the coherence?
CURATOR INTERVIEW. EVER SINCE HE “DECLARED HIS INDEPENDENCE” by resigning his directorship at the Kunsthalle Bern in 1969, Harald Szeemann has defined himself as an Ausstellungsmacher, a maker of exhibitions. There is more at stake in adopting such a designation than semantics. Szeemann is more conjurer than curator—simultaneously ...
