Hardcover. New Haven CT, Yale University Press, 1st, 2009, Book: Very Good, Dust Jacket: None, 240 pages, profusely illustrated in color and b&w. Quarter cloth with pictorial paper-covered boards. Like new in publishers shrink-wrap.

Hardcover. Cambridge MA, The MIT Press, 1sr, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright gold foil dust wrapper, 476 pages. The artist Francis Picabia -- notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist -- has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada. In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade -- Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history -- and naming them -- for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage.Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada "manifestations" to Picabia's polemical writings. Clean copy.

Hardcover. University of Nebraska, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover in a dust jacket with minor fading to edges, b&w illustrations, 179 pages. Contemporary feminist critics have often described Surrealism as a misogynist movement. In Automatic Woman, Katharine Conley addresses this issue, confirming some feminist allegations while qualifying and overturning others. Through insightful analyses of works by a range of writers and artists, Conley develops a complex view of Surrealist portrayals of Woman. Conley begins with a discussion of the composite image of Woman developed by such early male Surrealists as Andre Breton, Francis Picabia, and Paul Eluard. She labels that image "Automatic Woman"--a term that comprises views of Woman as provocative and revolutionary but also as a depersonalized object largely devoid of individuality and volition. This analysis largely confirms feminist critiques of Surrealism. The heart of the book, however, examines the writings of Leonora Carrington and Unica Zurn, two women in the Surrealist movement whose works, Conley argues, anticipate much contemporary feminist art and theory. In concluding, Conley shows how Breton's own views on women evolved in the course of his long career, arriving at last at a position far more congenial to contemporary feminists.

Hardcover. Cambridge MA, MIT Press, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Surrealism has long been seen as its founder, Andre Breton, wanted it to be seen: as a movement of love and liberation. In Compulsive Beauty, Foster reads surrealism from its other, darker side: as an art given over to the uncanny, to the compulsion to repeat and the drive toward death. To this end Foster first restages the difficult encounter of surrealism with Freudian psychoanalysis, then redefines the crucial categories of surrealism-the marvelous, convulsive beauty, objective chance-in terms of the Freudian uncanny, or the return of familar things made strange by repression. Next, with the art of Giorgio de Chirico, Max Ernst, and Alberto Giacometti in mind, Foster develops a theory of the surrealist image as a working over of a primal fantasy. This leads him finally to propose as a summa of surrealism a body of work often shunted to its margins: the dolls of Hans Bellmer, so many traumatic tableaux that point to difficult connections not only between sadism and masochism butal so between surrealism and fascism. At this point Compulsive Beauty turns to the social dimension of the surrealist uncanny. First Foster reads the surrealist repertoire of automatons and mannequins as a reflection on the uncanny processes of mechanization and commodification. Then he considers the surrealist use of outmoded images as an attempt to work through the historical repression effected by these same processes. In a brief conclusion he discusses the fate of surrealism today in a world become surrealistic. Compulsive Beauty not only offers a deconstructive reading of surrealism, long neglected by Anglo-American art history, but also participates in a postmodern reconsideration of modernism, the dominant accounts of which have obscured its involvements in desire and trauma, capitalist shock and technological development.

Hardcover. New York, D.A.P./The National Gallery of Art, Washington, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, 432 pages. Hardcover with dust jacket. A very clean, unmarked copy with only minor wear to dust jacket edges. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work.Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

Hardcover. New York , Museum of Modern Art, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 238 pages, 150 color and b&w illustrations. 4to, boards. New Exhibition also at the Tate Modern, London, the Los Angeles County Museum of Art, and the Salvador Dali Museum, St. Petersburg, FL.

Hardcover. Zurich, Verlag Scheidegger and Spiess, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 182 pages. Illustrated in b&w and some color. An account by art historian and controversial author Catherine Millet of a highly personal encounter with the artist s celebrated paintings and self-reflective writings. One of the first studies of the notoriously idiosyncratic artist s essays, this revolutionary book reveals all the narcissism, anxiety, and visual genius of the most famous and infamous of the surrealists. In a bright dust jacket.

Softcover. Spain, Fundacion La Caixa, 1st, 2004, Book: Very Good, Dust Jacket: None, 284 pages. Softcover. A very clean, unmarked copy with only minor edgewear. Beautiful color illustrations and photographs throughout.

Hardcover. NY, Rizzoli, 1st US, 1984, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 139 illustrations, 122 in color. Clean copy.

Softcover. London , Tate Publishing, 1st, 2008, Book: Very Good, Dust Jacket: None, 197 pages. Softcover. Extensive color photographs and illustrations throughout. Illustrated frontispiece. Gilt titles on cover. Clean, unmarked copy with only minor wear to wrappers.

Softcover. London, Tate Publishing, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 248 pages, color and b&w illustrations. This book examines the work of Duchamp, Man Ray, and Picabia, three pioneering figures in the history of modernism. It explores the points of convergence and the parallels in their development throughout their careers. Central to this is their response to photography and film, and to the challenges posed to fine art by the development of mass production. Duchamp's paintings of 1911-12 were influenced by the representation of movement in photography, while Picabia's were shaped in part by the belief that the advent of the camera spelled the end of traditional painting. Man Ray used photography first to record his own art works and those of others, but soon saw in it a means of creating images of a status and inventiveness traditionally restricted to fine art. And, as this fully illustrated book shows, humor and eroticism were themes common to the work of all three artists.

Softcover. London, Tate Publishing, 1st, 2008, Book: Very Good, Dust Jacket: None, 248 pages. Softcover. Extensive illustrations and photographs throughout. Illustrated frontispiece. Clean, unmarked copy with only minor wear to wrappers.

Hardcover. New York, Rizzoli, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, Hardcover, 235 pages, illustrated with 300 duotone, 56 color plates. A scholarly study of surrealism's influence on fashion from the 1920s through the 1980s. Like new in a bright, unclipped dust jacket.

Softcover. Washington DC, Smithsonian Institution, 1st, 1989, Book: Very Good, Dust Jacket: None, Softcover, 187 pages, illustrated throughout in color and b&w. Light edgewear to wrappers, else a clean, tight copy.

Hardcover. New Haven CT, Yale University Press, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 282 pages, illustrated in b&w and color. Although Surrealism is usually associated with the 1920s and 1930s, it remained a vital force in Paris throughout the postwar period. This important book offers the first detailed account in English of the trajectory of the French Surrealists in the 1950s and 1960s, giving particular emphasis to the significance of myth for the group in its reception of science fiction and its engagement with fantastic art. Offering new readings of the art and writings of the later generation of Surrealists, Gavin Parkinson demonstrates how they were connected to the larger cultural and political debates of the time. Whereas earlier Surrealist art and writing drew on psychoanalytic practices, younger Surrealists engaged with contemporary issues, ideas, and themes of the period of the Cold War and Algerian War such as parapsychology, space travel, fantastic art, increasing consumerism in Europe, emerging avant-gardes such as Nouveau Realisme, and the rise of the whole genre of conspiracy theory, from Nazi occultism to flying saucers. Futures of Surrealism offers a unique perspective on this brave new world. Clean copy.

Hardcover. NY, Penguin Press, 1st, 2019, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket., 310 pages, color and b&w illustrations. In Montparnasse begins on the eve of the First World War and ends with the 1936 unveiling of Dali's Lobster Telephone. As those extraordinary years unfolded, the Surrealists found ever more innovative ways of exploring the interior life, and asking new questions about how to define art. In Montparnasse recounts how this artistic revolution came to be amidst the salons and cafes of that vibrant neighborhood. Sue Roe is both an incisive art critic of these pieces and a beguiling biographer with a fingertip feel for this compelling world. Beginning with Duchamp, Roe then takes us through the rise of the Dada movement, the birth of Surrealist photography with Man Ray, the creation of key works by Ernst, Cocteau, and others, through the arrival of Dali. On canvas and in their readymades and other works these artists juxtaposed objects never before seen together to make the viewer marvel at the ordinary--and at the workings of the subconscious. We see both how this art came to be and how the artists of Montparnasse lived. Roe puts us with Gertrude Stein in her box seat at the opening of The Rite of Spring; with Duchamp as he installs his famous urinal; at a Cocteau theatrical with Picasso and Coco Chanel; with Breton at a session with Freud; and with Man Ray as he romances Kiki de Montparnasse.

Hardcover. NY, W. W. Norton, 1st, 2022, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 290 pages, color and b&w illustrations. Kiki was once the symbol of bohemian Paris. But if she is remembered today, it is only for posing for several now-celebrated male artists, including Amedeo Modigliani and Alexander Calder, and especially photographer Man Ray. Why has Man Ray's legacy endured while Kiki has become a footnote? Kiki and Man Ray met in 1921 during a chance encounter at a cafe. What followed was an explosive decade-long connection, both professional and romantic, during which the couple grew and experimented as artists, competed for fame, and created many of the shocking images that cemented Man Rays reputation as one of the great artists of the modern era. Remainder dot to top edge, otherwise clean.

Hardcover. New York, Harry N. Abrams, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, Hardcover, 352 pages, 470 color and b&w plates. Clean, tight copy. Published on the occasion of the exhibition from The Menil Collection, Houston TX December 15, 1992-February 21, 1993. Bibliography and Index. Exhibition catalogue written in conjunction with the Magritte catalogue raisonne.

Softcover. Paris, Sodicart and Carla Arigoni, 1st, 1989, Book: Very Good, Dust Jacket: None, Softcover exhibition catalog, color illustrations, 130 pages. FRENCH TEXT. Clean, like new.

Softcover. NY, Da Capo Press, reprint, 2000, Book: Very Good, Dust Jacket: None, Softcover, 449 pages, b&w illustrations. Man Ray was the quintessential modernist figure - painter, sculptor, photographer, filmmaker, poet, and philosopher. One of the most fascinating of the Surrealists who transformed the Paris art world during the 1920s, Man Ray was an enigma - a Dadaist who revered the Old Masters, an anarchist pursued by wealthy patrons. Driven to make his mark in as many art forms as possible, he struggled bitterly to win acceptance as a painter even as his skill as a photographer brought him world wide fame. Remainder line to bottom edge, otherwise clean.

Hardcover. La Fabrica, 1st, 2009, Book: Very Good, Dust Jacket: Very Good, Like new in publishers shrink-wrap. Hardcover, 391 pages, profusely illustrated. This excellent catalog contributes a wealth of new information, providing a valuable contribution to our understanding of Man Ray. The treasure trove of images and objects collected here is drawn from the large archives of the Man Ray Trust in Long Island, New York, and includes little known early works, documents and objects from his private life, working drawings and sketches for major works as well as innumerable familiar masterpieces.

Hardcover. NY, Cameo / Abrams, 1st, 1997, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 64 pages illustrated in b&w and color. Clean copy.

Softcover. Milwaukee WI, Haggerty Museum of Art, 1st, 1997, Book: Very Good, Dust Jacket: None, Softcover, 80 pages, illustrated in color. Essays by Octavio Paz, Andre Breton and Sabine Eckman. Like new.

Softcover. Milwaukee WI, Haggerty Museum of Art, 1st, 1997, Book: Very Good, Dust Jacket: None, Softcover, 80 pages, illustrated in color. Essays by Octavio Paz, Andre Breton and Sabine Eckman. Like new.