Mary Ann Caws
MARY ANN CAWS is Distinguished Professor of Comparative Literature, English, and French at the Graduate School of the City University of New York. Her many areas of interest in twentieth-century avant-garde literature and art include Surrealism, poets René Char and André Breton, Virginia Woolf and the Bloomsbury group, and artists Robert Motherwell, Joseph Cornell, and Pablo Picasso. Conceptually, one of her primary themes has been the relationship between image and text.
APR 2018 | Art Books
Prepare to be astonished. How on earth, you wonder, can a Scot woman poet and collagist possessed of an overcomingly remarkable imagination, combined with an intense involvement in Scottish history, Dante, the Victorian Romance novel and art, and in really weird animals in various beings and doings, fit so perfectly, no matter how oddly, into the San Francisco Renaissance? Prepare to meet Helen Adam.
MAY 2018 | ArtSeen
Saying that the divine Marquis had something to do with eroticism is a bit like saying Donald Trump has a little something not to do with truth. Beloved for every brick literally there in the face of Man Ray’s imaginary portrait of 1970 with his baleful and fleshy stare, the Marquis de Sade has haunted every subsequent surrealist discoverer of his works and perpetually-imprisoned self.
FEB 2017 | ArtSeen
Revolution has not been, at least recently and in my view, so colorfully demonstrated as here, in this staggering exhibition at the Museum of Modern Art.
OCT 2017 | ArtSeen
Not far apart, about two minutes or a bit more by foot, depending on what friends you see along the way, are the two present exhibitions at Paul Kasmin Gallery, at 293 and 297 Tenth Avenue.
NOV 2017 | Art
Linda Nochlin, certainly the most influential writer ever on feminist art, was also a poet. Maura Reilly's edition of The Linda Nochlin Reader in 2015 includes the celebrated essay “Why Have There Been No Great Women Artists” seen freshly, thirty years after, and in fact all Nochlin's essays help the reader to see freshly—not just feminist art but details and fragments, bathers and politics, Courbet and realism, and more.
FEB 2016 | ArtSeen
Sarah Plimpton’s new work, Black Light, at the June Kelly Gallery is, like her other paintings and books, instantly recognizable. Never would you say: “Oh, isn’t this like ?”
SURREAL ENCOUNTERS: COLLECTING THE MARVELOUS
by Mary Ann Caws
Works from the Collections of Roland Penrose, Edward James, Gabrielle Keiller and Ulla and Heiner Pietzsch
JUL-AUG 2016 | ArtSeen
An exhibition jointly organized by SNGMA, the Museum Boijmans Van Beuningen, Rotterdam, and the Hamburger Kunsthalle, where it will be shown after the only United Kingdom showing in Edinburgh.
MAR 2015 | ArtSeen
Kerstin Brätsch, Blocked Radiant.Before you even go in, on either side of the doors, you encounter this oxymoron: the doors are not blocked, but they are surrounded by panels designated as blocked. Wow.
MAY 2015 | Fiction
one day, after so many years of not waiting / like a divine promulgation a cloud / too heavy to pass breaks: its the flood
SEPT 2015 | Books
Many of us know Antonin Artaud first from his face. Those high cheekbones, that deeply serious stance and gesture, holding up the Bible to the Joan played by the very great Falconetti in Dreyer’s Joan of Arc at the Stake as she is about to be burned. That encounter with the flames we might see as lasting beyond his performance.
DEC 15-JAN 16 | ArtSeen
Rare are the pictures of André Breton lying down. This time he is reclining before Giorgio de Chirico’s Enigma of a Day (1933), as if indeed he himself were to be posing as one of those reclining Roman statues within the piazza, observing us observing him.
NOV 2014 | Fiction
Given my solid reputation as a gourmande, many readers imagine me seated at a table, framed with patés and bottles, like the Gourmand of a famous poster. Thats too flattering. Its actually embellishing the truth, taking me for a cordon bleu, while I am only able to manage one dish, and give some advice somewhat brightened up by enlightened gastronomy.
APR 2018 | ArtSeen
Of course, in 1966 it would seem to require a necessary immensity to portray, in any possible way, the alliance of myth and antiquity: the battle of Greek gods and human giants against the background noise of Vietnam, so iconic and gigantic as they appear in Naples and Berlin, where I well remember gasping in front of the Pergamon frieze in the Pergamon Museum.
FEB 2017 | Books
It has always been the case, as long as I have—or anyone I know has—been reading the poems of Sarah Plimpton and looking at the (apparently) drastically simple forms of the drawings she constructs that are so instantly recognizable.
MAY 2017 | ArtSeen
In the original title of Max Ernst’s extraordinary bronze statues of 1967, Corps enseignant pour une école de tueurs (Teaching Staff for a School of Murderers), there is no specific reference to a “Big Brother.”
OCT 2017 | ArtSeen
At the Agora Gallery, there opened "an immersion exhibition" entitled FIAT#LUX where Chantal Westby's paintings merge with Lénaïc Mercier's multi-media installation, in a length of light.
DEC 17-JAN 18 | ArtSeen
You walk around, you compare the weight of the sculptures with the density of the black in his drawings, the way the curves fit into one another, the way it has an impact on your mind, and physical state.
APR 2016 | Art
Upon occasion and in some places, reading and looking seem to interconnect geographically, textually, visually, and personally with a kind of intensity. It seems to me to happen especially in the atelier system. With this in mind, I set out to visit the Grand Central Atelier in Long Island City, founded by the right-now-contemporary painter and teacher, Jacob Collins, a contemporary realist, known for his championship of the classical art revival.
FEB 2015 | ArtSeen
After studying with the great and eccentric Clyfford Still at the California School of the Arts, exhibiting with the Abstract Expressionists in New York, and having endured stints of teaching on the East Coast and in the Midwest, Jon Schueler left New York in 1970 for the isolation and particular weather of the Scottish Highlands.
APR 2015 | Fiction
The language of poetry cant be enclosed in any category, cant be summed up in any function or formula. Neither instrument nor ornament, it scans a word carrying the ages and the fleeting space, founding both stone and history, welcoming their dust. It moves about in the energy that makes and breaks empires.
MAY 2015 | Art
If philosophy takes in everything, it was all here on this night-morning. Of course, you might say to yourself, why just a night of philosophy, why not, perhaps, a day and a night, or several of each, or what about a life of it?
NOV 2015 | Books
And the walls they did indeed come a-tumbling down crashing earthwards from the start of this narration of a to-be-mother, very much not-wanting-to have this child with whom she lives at the beginning, in a tower with some bats and ravens, in a “gruesome inner union.”
NOV 2014 | Editor's Message
Picking up on a thread from the last Brooklyn Rail Critics Page, about haunting, and who and what haunts you, I first think of André Bretons Nadja and its beginning: Who am I? If this once I were to rely on a proverb, then perhaps everything would amount to knowing whom I haunt.
DEC 07-JAN 08 | Poetry
I am writing here as one of the numerous persons to whom René Char has given a reason for so many things, moral, psychological, and creative. And its of his life as a résistant that Id like to write just a few words. He was not only a resistance fighter in the warto which the Leaves of Hypnos bears witnessbut a fighter all along on the moral plane, his whole life long.