Intersections

Patricia Allmer is Professor of Modern and Contemporary Art History at the University of Edinburgh

Demonstrates the significant roles taken by women artists within the history of modern and contemporary art, and expands and redefines conventional conceptions of both surrealist and modernist canons.

IntroductionPart I: Automatic practices1. Four 'outsiders', four women: surrealism and the psychic elsewhere - Colin Rhodes2. Photographic automatism: surrealism and feminist (post?)modernism in Susan Hiller's Sisters of Menon - Katharine Conley3. The surrealist script(s): Bourgeois, Chadwick, Hiller - Guy ReynoldsPart II: Poetic practices4. Savage balm: Claude Cahun and Lise Deharme - Jonathan P. Eburne5. Emma's navel: Dorothea Tanning's narrative sculpture - Catriona McAra6. Trespassing boundaries: Liminality, hybridity and the quest for identity in Leonora Carrington's The Stone Door - Victoria Ferentinou7. Screams: Women in post-war surrealist journals - Hazel DonkinPart III: Magical practices8. Desert islands: magic and modernity in the work of Ithell Colquhoun - Neil Matheson9. 'The Old Horizon Withdraws': surrealist connections in Martinique and Haiti - Suzanne Césaire and André Breton, Maya Deren and André Pierre - Terri GeisPart IV: Combinatory practices10. Helen Lundeberg, an oxymoron - Ilene Susan Fort11. Lee Miller's signscapes - Patricia Allmer12. Aube Elléouët's collages: Ricochets - Elza Adamowicz13. Birgit Jürgenssen's poetic surrealist feminism - Gabriele SchorPart V: Practices of fashion14. Feathers, flowers, and flux: Artifice in the costumes of Leonor Fini - Rachael Grew15. Surrealist? Modernist? Artist? The vicissitudes of Elsa Schiaparelli - Emma WestIndex