Dreamland: American Explorations into Surrealism

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fter a while, the word “surreal” didn’t seem to mean anything at all. Many took it to mean “weird”, but it also stood in rather marvelously on those occasions when no other word quite seemed to fit the situation. The surrealists couldn’t agree on the definition either. There were those who approached surrealist art from a highly intellectual position. These artists concerned themselves with metaphysical truth and conveying their understanding of Freud’s theory of the unconscious. Other artists were pushing the Dadaist assault on rationality. Still others used the term to decribe the visionary quality of their imagery. If the debate among artists was serious, the art itself was more often playful. Visual and verbal puns, absurd juxtapositions, radical changes in scale, and soaring flights of fancy were employed to produce wildly disparate works. In Herbert Bayer’s imagination, hard rock could curl like fabric, while for Man Ray, bananas connoted planes. In Howard Warshaw’s world, a radish could be a fish, an eyeball, or just a radish. Even for artists who were to make their careers in other styles, Surrealism proved important to their development. In the wider world of American art, the intuitive working method known as “automatism” [painting without thinking] led directly to the development of Abstract Expressionism. The “American Dream” lies here exposed. It is richer, wilder, more raw, and more mysterious than I imagined. - Jeremy Tessmer

The psychoanalytic theory that underlies much of postmodernism is directly expressed in Surrealist compositions. Many contemporary artists share a fascination with the unconscious dream state, which remains mysterious despite vast scientific investigation. Wandering through pathways defined by Jessica Foos Jones’ clay doves, visual surprises unfold. David Ligare paints a classically pure white cloth tossed high above ocean waves, seen from a suspenseful angle. Bo Bartlett wonderfully updates Magritte’s conceptual painting of a pipe, while the disturbing works of Fred Stonehouse impart questions, not answers. With altered scale and a nightmarish, cartoon-like Pop aesthetic, the late Roger Brown’s paintings provide a playful punch. Scott Kahn magically transforms his studio walls into a full moon vista, while Irma Cavat presents her particular Surrealist vision. Classical realism is the vehicle for Steven Kenney’s remake of a twenty-first century still life. Jeff Sanders references Man Ray with his springpowered kinetic metronomes that invite audience participation. The fanciful ceramic sculptures of Rebekah Bogard depict imaginary animals that are child-like and gender -specific. Colin Gray, noted for his public art controversy, delivers a dynamic suite of drawings. The juxtaposition of dissimilar images causes us to think differently, reminding us that much of reality exists beyond the rational. We hope you enjoy our presentation of contemporary artists who continue to explore the realm of imagination. - Nancy Caponi

Herbert Bayer umsinkender (collapsing), 1933 13.25 x 22.125 inches | oil on canvas

“[Surrealism is] the chance meeting of a sewing machine and an umbrella on a dissecting table.” - Comte de Lautrémont, 1868

20.2 x 22.2 inches | oil on canvas

still life, 1930

Francis Criss

Man Ray bananas and plane, 1948 13.5 x 17.5 inches | oil on canvas

Howard Warshaw anatomy of a vegetable, 1947 5.5 x 7.5 inches | oil on cardboard wrapped objects, 1947 21.75 x 36 inches | oil on canvas

Howard Warshaw goth girl, c. 1944 30.25 x 25 inches | oil on canvas

Gertrude Abercrombie still life - shell, 1951 3 x 3.5 inches | oil on board

John Wilde skulls of small mammals, 1973 9 x 14.875 inches | oil on board

Leon Kelly bird of fecundity, 1946 9.5 x 11.5 inches | oil on canvas

16 x 20 inches | oil on canvas

the wall, 1944

Richard Haines

Eugene Berman debris antique dans un paysage (antiquities in the landscape), 1933 17.875 x 32.152 inches | oil on canvas

Let us not mince words: the marvelous is always beautiful. Anything marvelous is beautiful. In fact, only the marvelous is beautiful. - AndrĂŠ Breton, 1924

Hank Pitcher h a m i s h b u r n i n g s p e a r, 2 0 0 6 96 x 48 inches | oil on canvas over board

Roger Brown killer crab, 1986 48 x 72 inches | oil on canvas Photo courtesy of the School of the Art Institute of Chicago and the Brown family

Fred Stonehouse untitled (lotus hat), 1997 10 x 8 inches | acrylic on board

Scott Kahn the studio, 2006 36 x 44 inches | oil on linen

Bo Bartlett i can not presume to know what you think or how you feel or what you believe or what your perception of reality is.

but, this is my pipe, 2006

16 x 13.5 inches | gouache and oil on paper

David Ligare thrown drapery (redux), 2006 40 x 40 inches | oil on canvas

Rebekah Bogard animal attraction, 2006 24 x 17 x 8 inches | ceramic

Rebekah Bogard somatic benediction, 2006 23 x 22 x 8 inches | ceramic

Jeff Sanders icu 2, 2006 edition of 4 |69 x 22.5 x 22.5 inches | spring-powered kinetic sculpture with live video projection red light, 2006 edition of 8 | 10 x 19 inches | hand-shaped polyurethane foam with acrylic urethane finish and cast bronze fittings

Irma Cavat how to paint a pomegranate, 2001 70 x 50 inches | oil on canvas

dreamland*

*American Explorations Into Surrealism On Exhibit From January 20 until March 25, 2007 î Ż You are cordially invited to experience the marvelous, the delightful, and the utterly unlikely at the reception for this exhibition. Saturday, January 20, 2007 From 5 until 7 pm 7 and 11 East Anapamu Street in Santa Barbara î Ż There will, of course, be a costume contest. The most surreal costume of the evening will win $250. Cash prizes awarded to second, third, and fourth as well.

Sullivan Goss AN AMERICAN GALLERY

7 East Anapamu Street Santa Barbara, CA 93101 (805) 730-1460 P LE A S E VISIT OUR NEW WEBSITE: h t t p : / / www.sullivangoss.com

Prsrt Std. U.S. Postage PAID Santa Barbara, CA Permit No. 553

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