T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said...

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Page 1: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

THE 20TH CENTURY: MODERN ART

Page 2: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

INTRODUCTION “Beauty must be convulsive or cease to be,”

said Surrealist spokesman André Breton Art concerned itself less with exterior visual

reality and more with interior vision The artist paints “not what you see, but what

you know there is” (P. Picasso) The sharpest break with the past in the whole

evolution of Western art Twentieth-century art liberated form (Cubism)

from traditional rules and freed color (Fauvism) from accurately representing an object.

Modern artists defied convention with a vengeance, heeding Gauguin’s demand for “a breaking of all the old windows, even if we cut our fingers on the glass”

Page 3: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

The core of this philosophy (modernism) was a relentless quest for radical freedom of expression

The artist stressed private concerns, experiences and imagination as the sole source of art

During the first half of the century, the School of Paris reigned supreme (Fauvism, Cubism and Surrealism)

In the 50s – the New York School of Abstract Expressionism (Jackson Pollock, Willem de Kooning – “busted our idea of a picture all to hell”)

Page 4: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

FAUVISM (1904-1908) The first major avant-garde art movement Fauvists (Matisse, Vlaminck, Derain, Dufy,

Braque and Rouault) changed the way we look at the world: they were extremely creative with the use of color in unexpected way

Public response to their art was hostile: fauves = wild beasts;

“raving madness”, ‘a universe of ugliness”, “the naïve and brutal efforts of a child playing with a paint-box”

Main influences: post-impressionists (Gogh, Gauguin, Cézanne) and non-European tribal arts (Derain, Vlaminck and Matisse collected African masks)

Page 5: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

DERAIN, “BIG BEN,” 1905

Page 6: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

VLAMINCK, “LANDSCAPE WITH RED TREES,”1907

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DUFY, “INTERIOR WITH OPEN WINDOW,” 1928

Page 8: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

HALLMARKS OF FAUVISM (1904-1908)

Short-lived: “You can’t remain forever in a state of paroxysm” (Braque)

Intense, bright, clashing colorsDistorted forms and perspectiveVigorous brushstrokesFlat, linear patternsBare canvas as part of overall

design

Page 9: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

TWIN TITANS OF THE 20TH CENTURYChromatic revolutionMatisse, “The Green Stripe

(Mme Matisse),” 1905

Revolt against realism – form (Cubism)

Picasso, ”The Blindman’s Meal,” 1903

Page 10: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

MATISSE, “GOLDFISH AND SCULPTURE,” 1911

Page 11: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

MATISSE, “DANCE” (FIRST VERSION), 1909

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MATISSE, “LES BÊTES DE LA MER,” 1950

Page 13: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

PICASSO’S BLUE PERIOD: “LA CELESTINA,” 1904

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PICASSO, “IN 'LAPIN AGILE' OR HARLEQUIN WITH A GLASS,” 1905

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PICASSO, “GUERNICA,” 1937

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HARBINGER OF CUBISMPICASSO, “DEMOISELLES D’AVIGNON,” 1907

Page 17: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

CUBISM (1908-1914)

The four “true” cubists: Picasso, Braque, Gris, Léger

“Art consists of inventing and not copying” (Léger)

Analytical Cubism analyzed the form of objects by shattering them into fragments spread out on the canvas

Synthetic Cubism dismantled the form only to reassemble, or “synthesize”, its essential structural lines/elements

Page 18: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

WHICH IS WHICH?Picasso, “Portrait of Ambroise Vollard,” 1910

Picasso, “The Studio,” 1928

Page 19: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

PICASSO, A DOCUMETARY: HTTP://WWW.YOUTUBE.COM/WATCH?V=CCTG41OALHU (PART 1 – APPROX. 9.5 MINUTES; PART 2 – 10 MINUTES)

http://www.youtube.com/watch?v=CCTg41oalhU
Page 20: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

BRAQUE, “MANDOLIN,” 1914

Page 21: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

SYMBOLISM IS THE PRACTICE OF REPRESENTING THINGS BY SYMBOLS, OR OF INVESTING THINGS WITH A SYMBOLIC MEANING OR CHARACTER. A SYMBOL IS AN OBJECT, ACTION, OR IDEA THAT REPRESENTS SOMETHING OTHER THAN ITSELF, OFTEN OF A MORE ABSTRACT NATURE. SYMBOLISM CREATES QUALITY ASPECTS THAT MAKE LITERATURE LIKE POETRY AND NOVELS MORE MEANINGFUL.

Page 22: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

THE KISS BY GUSTAV KLIMT (1907-1908, OIL ON CANVAS, APPLIED LAYERS OF GOLD LEAF, VIENNA)

Page 23: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

MODERNISM OUTSIDE OF FRANCE

Futurism (Italy) Constructivism (Russia) Precisionism (United States)

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FUTURISM (ITALY, 1909-1918)

Features

Artists

Lines of force representing movement and modern life

Boccioni, Balla, Severini, Russolo

Page 25: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

BOCCIONI, “UNIQUE FORMS OF CONTINUITY IN SPACE,” 1913

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CONSTRUCTIVISM (RUSSIA, 1913-1932)

Features

Artists

Geometric art reflecting modern technology

Tatlin, Malevich, Popova, Rodchenko, Lissitzky, Gabo, Pevsner

Page 27: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

TATLIN, “MODEL FOR THE MONUMENT FOR THE 3RD INTERNATIONAL,” 1920

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PRECISIONISM, THE USA, 1915-1930

Features

Artists

sleek urban and industrial forms

Sheeler, Demuth,O’Keeffe

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O’KEEFFE, “CITY NIGHT,” 1926

Page 30: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

EXPRESSIONISM: THE FINE ART OF FEELING (1905-1930)

Distorted and exaggerated forms and colors for emotional impact

Two famous German schools: Die Brücke (believed their art work will be a bridge to the future; disintegrated in 1913) and Der Blaue Reiter (pure abstraction; disintegrated in 1914)

Page 31: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

DIE BRÜCKEKirchner, “Berlin Street Scene,” 1913

Kollwitz, “Infant Mortality,” 1925

Page 32: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

DER BLAUE REITERKandinsky, “Improvisation 31 (Sea Battle), “ 1913

Klee, “Blue Night,” 1937

Page 33: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

VASSILY KANDINSKY, IMPROVISATION NO. 30, 1913. OIL ON CANVAS, ART INSTITUTE OF CHICAGO

Page 34: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

DUTCH EXPRESSIONISM (1917-1931)

Tried to eliminate emotion from art Advocated a severe art of pure

geometry (De Stijl, “The Style”) During the chaos of WWI, Mondrian

(1872-1944) concluded that “nature is a damned wretched affair”

Mondrian decided to jettison “natural”, messy art for a new style called Neo-Plasticism, whose goal was to create a precise, mechanical order lacking in the natural world.

Page 35: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

BRANCHING OUT: PROGRESSIVE SIMPLIFICATION OF NATURAL FORMMondrian, “Gray Tree,” 1912

Mondrian, “Flowering Apple Tree,” 1912

Page 36: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

MONDRIAN, “COMPOSITION IN RED, BLUE, AND YELLOW,” 1920

Page 37: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

BOOGIE WOOGIE BROADWAY (1943)

Page 38: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

MONDRIAN: HTTP://WWW.YOUTUBE.COM/WATCH?V=B8BXJLVDP7U (2.09 MINUTES)

http://www.youtube.com/watch?v=B8bXjlvDP7U
Page 39: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

EXPRESSIONISM , A DOCUMENTARY : HTTP://WWW.YOUTUBE.COM/WATCH?V=DD5G9ZJFS9A (10.01 MINUTES)

http://www.youtube.com/watch?v=dD5G9ZJFS9A
Page 40: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

DADA (1916-1922) Founded in neutral Zurich in 1916 by a

group of refugees from WWI, the Dada movement got its name from a nonsense word

It protested the madness of war. Dadaist artists felt they could no longer

trust reason and the establishment. Their alternative was to overthrow all

authority and cultivate absurdity. Dada was an international attitude that

spread from Zurich to France, Germany and the USA.

Its main strategy was to denounce and shock.

They hoped to awaken the imagination.

Page 41: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

DUCHAMP, “FOUNTAIN,” 1917

Page 42: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

THE ART CRITIC (1919-20) BY RAOUL HAUSMANN

Page 43: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

GEORGE GROSZ, THE GUILTY ONE REMAINS UNKNOWN (1919)

Page 44: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

HANS ARP, COLLAGE ARRANGED ACCORDING TO THE LAWS OF CHANCE, C. 1919

Page 45: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

DADA AND SURREALISM: HTTP://WWW.YOUTUBE.COM/WATCH?V=0BCOPHW1Y8G (2.24 MINUTES)

 

http://www.youtube.com/watch?v=0bcoPHw1Y8g
Page 46: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

SURREALISM (THE 20S AND 30S) IN EUROPE AND AMERICA

Experiments with automatism Creating without conscious control Tapping into the unconscious Going beyond realism Attempts at expressing the bizarre and

the irrational; truths unreachable by logic

Two forms:improvised art, devoid of conscious control (Miró and Ernst)attempts at presenting hallucinatory scenes that defy common sense (Dalí and Magritte)

Page 47: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

Miró, “Dutch Interior II,” c. 1920

Ernst, “Two Children Threatened by A Nightingale”, 1924

Page 48: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

Dalí, “The Persistence of Memory,” 1931

Magritte, “The False Mirror,” 1928

Page 49: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

SURREALISM IN PHOTOGRAPHYMan Ray, “Rayograph,” 1928

Weston, “Leeks,” 1927

Page 50: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

ABSTRACT EXPRESSIONISM (40S AND EARLY 50S) Claimed that art is not just the product of

artistic creation but the active process of creating it

“action painting” Stressed energy, action, kineticism, and

freneticism A reaction to the war that devastated two

continents Works of art were now not only irrational, but

, at their core, unpremeditated accidents Abstract Expressionists liberated themselves

from geometric abstraction and the need to suggest recognizable images.

The impassioned act of painting became an absolute value in itself.

Page 51: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

GORKY, “WATER OF THE FLOWER MILL,” 1944

Page 52: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

DE KOONING, “WOMAN I,” 1950-52

Page 53: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

VENUS OF WILLENDORFTHE VENUS OF WILLENDORF, NOW KNOWN IN ACADEMIA AS THE WOMAN OF WILLENDORF, IS AN 11 CM (4.3 IN) HIGH STATUETTE OF A FEMALE FIGURE ESTIMATED TO HAVE BEEN MADE BETWEEN 24,000 AND 22,000 BCE. IT WAS FOUND IN 1908 BY A WORKMAN NAMED JOHANN VERAN OR JOSEF VERAM DURING EXCAVATIONS CONDUCTED BY ARCHAEOLOGISTS JOSEF SZOMBATHY, HUGO OBERMAIER AND JOSEF BAYER AT A PALEOLITHIC SITE NEAR WILLENDORF, A VILLAGE IN LOWER AUSTRIA NEAR THE CITY OF KREMS.[3] IT IS CARVED FROM AN OOLITIC LIMESTONE THAT IS NOT LOCAL TO THE AREA, AND TINTED WITH RED OCHRE. THE "VENUS OF WILLENDORF" IS NOW IN THE NATURHISTORISCHES MUSEUM IN VIENNA, AUSTRIA

http://en.wikipedia.org/wiki/Archaeologist
http://en.wikipedia.org/wiki/Josef_Szombathy
http://en.wikipedia.org/wiki/Josef_Szombathy
http://en.wikipedia.org/wiki/Hugo_Obermaier
http://en.wikipedia.org/wiki/Hugo_Obermaier
http://en.wikipedia.org/wiki/Paleolithic
http://en.wikipedia.org/wiki/Aggsbach
http://en.wikipedia.org/wiki/Lower_Austria
http://en.wikipedia.org/wiki/Krems_an_der_Donau
http://en.wikipedia.org/wiki/Venus_of_Willendorf
http://en.wikipedia.org/wiki/Oolite
http://en.wikipedia.org/wiki/Limestone
http://en.wikipedia.org/wiki/Red_ochre
http://en.wikipedia.org/wiki/Naturhistorisches_Museum
http://en.wikipedia.org/wiki/Naturhistorisches_Museum
http://en.wikipedia.org/wiki/Vienna
Page 54: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

WILLEM DE KOONING: ABSTRACT EXPRESSIONIST: HTTP://WWW.YOUTUBE.COM/WATCH?V=EM31IY2XQOW&FEATURE=FVST (2.53 MINUTES)

http://www.youtube.com/watch?v=eM31iY2xqOw&feature=fvst
http://www.youtube.com/watch?v=eM31iY2xqOw&feature=fvst
Page 55: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

HOFMANN, “THE GATE,” 1960

Page 56: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

JACKSON POLLOCK, “NO. 1, 1950(LAVENDER MIST)”

Page 57: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

JACKSON POLLOCK HTTP://WWW.YOUTUBE.COM/WATCH?V=MICMDV2IK-Q (5 PARTS)

http://www.youtube.com/watch?v=mIcMdv2Ik-Q
http://www.youtube.com/watch?v=mIcMdv2Ik-Q
Page 58: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

COLOR FIELD: ROTHKO, “BLUE, ORANGE, RED,”, 1961

Page 59: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

STAIN PAINTING:FRANKENTHALER, “THE BAY,” 1963

Page 60: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

LOUIS, “POINT OF TRANQUILITY,” 1959-60

Page 61: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

HARD EDGE (1958 ONWARDS)Calculated, impersonal abstraction

Sharply contoured, simple forms

Paintings precise and cool as if painted by machines

Pigment-covered areas bordered by canvas stretchers

Page 62: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

ALBERS, “HOMAGE TO THE SQUARE: ’ASCENDING,’” 1953

Page 63: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

NOLAND, “BEND SINISTER,” 1964

Page 64: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

POP ART (THE 60S ONWARDS)

Subjects from popular cultureCommercial art background Images from Times Square neon

signs, the mass media, and advertising

Return to pictorial subject matter Impersonal art; anonymous styleShiny colors, snappy design,

mechanical quality, glossy familiarity

Page 65: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

WARHOL, “100 CANS OF CAMPBELL’S SOUP,” 1962

Page 66: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

ANDY WARHOL, A DOCUMENTARY:HTTP://WWW.YOUTUBE.COM/WATCH?V=UHR4DID9ZGK (49.22 MINUTES)

http://www.youtube.com/watch?v=Uhr4DiD9ZGk
Page 67: T HE 20 TH CENTURY : MODERN ART. I NTRODUCTION “ Beauty must be convulsive or cease to be,” said Surrealist spokesman André Breton Art concerned itself.

REFERENCES

Strickland, Carol. The Annotated Mona Lisa. A Crash Course in Art History from Prehistoric to Post-Modern. Kansas City: Andrews McMeel Publishing, LLC, 2007. Print


he Museum of Modern Art · "Just as pioneer Surrealist painting depended on Cubism for its point of departure so Surrealist sculpture presupposed the art of Picasso, Brancusi and

he Museum of Modern Art · "Just as pioneer Surrealist painting depended on Cubism for its point of departure so Surrealist sculpture presupposed the art of Picasso, Brancusi and

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A CHRONOLOGY OF WEST COAST SURREALIST · PDF fileA CHRONOLOGY OF WEST COAST SURREALIST ART Gary Lee Nova: ... The publication of Splendor Solis by the Georgia Straight as an art supplement.

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