'U' art museum exhibits creative interpretations of dreams

The fascinating realm of surrealist art illuminates the walls of the University Museum of Art in a temporary exhibit that will run through October 25.

The University-owned collection embodies a wide range of themes within the genre of surrealism, the abandonment of rationality and reality invented by Andre Breton in the1920's. Breton's new style coincided with the introduction of Freudian psychoanalysis, exploding into an exploration of dreams, fantasies and the unconscious.

Surrealism encompasses the exuberant as well as the disturbing, as artists reacted to such turmoil as war and the dehumanizing effects of technology. Although it rejects traditional social commentary, surrealist art tells a gripping and powerful story.

Courtesy of UM Museum of Art Max Ernst's 'School for Birds' is one of the etchings on exhibit.

The diversity of the Museum's exhibit reflects the experimentation in media and materials as well as the regional metamorphosis of surrealism over time.

Several series are highlighted in the collection, including Kurt Seligmann's "The Myth of Oedipus," a series of six black and white etchings in which seemingly bandaged figures suggest the sickness of non-existence beneath the faceless forms.

Many surrealists sought out primitive images in their work as an escape from the reality of their times. This modality is evident in "Transmutations," a series by French artist Brassai which utilizes photo plates as the base for drawings of expressive primitive faces and imaginary musical instruments.

The initial photographic composition, a female nude, is visible only in sporadic glimpses, testifying to the surrealist technique of layered material, as well as hidden sexual themes.

The motif of sexuality is also explored by many other pieces in the exhibit, from the explicitness of Paul Delvaux's nudes to Jean Arp's simple, graceful sculptures, "Pre-Adamic Fruit" and "Little Torso #5."

David Smith's whimsical "Tastvaat" adds humor to the collection with its faux-Dutch title derived from "toss twat," the impression he wanted to give with his piece.

Other individual pieces such as "The Talkative Jewels" by Magritte, depicting a face nestled into a human arm, or the complex Gerome Kamrowski piece entitled "Sensations" appeals to the senses of many observers.

School of Art Sophomore Brein Gallagher remarked of the Kamrowski work, "I like it because of the brilliant colors and because it reminds me of Cubism."

Even the exhibit space itself contributes to the overall sensation of the show. A maze-like grouping of walls in the center of the room create a more complex space than a typical, four walled area. Colorful backgrounds and eclectic frames complete the experience.

In addition to the exhibit, the Museum will host events related to the exhibit. On Saturday, Annette Dixon and Carole McNamara, co-curators of the exhibition will host a presentation for the New Art League.

A docent-led tour of the exhibit is scheduled for Sunday, and a lecture by Prof. Matthew Biro on Sept. 24 entitled "Fragmented Bodies and Expanded Minds: Surrealism in Paris Between the Wars."

Since Surrealism had a definite performative element, University dance and drama students, as well as community performance artists will entertain us in "Always for the First Time: An Evening of Surrealist Performance," on October 1-2.

The annual Doris Sloan Memorial lecture will be conducted in conjunction with this exhibition by Emory University Professor Clark V. Poling on October 11, entitled "Body and Self in the Surrealism of Andre Masson."

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