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Joanna Pawlik
Joanna is Lecturer in Art History at the University of Sussex. She was previously a Leverhulme Early Career Fellow and Teaching Fellow at the University of Manchester. My interests lie in modern and contemporary American art and culture, with emphases on transnationalism, avant-gardism and protest. My research spans Art History and Visual Studies, Literary Studies and Cultural and Critical Theory and is informed by feminist, queer, postcolonial and poststructuralist approaches. My Leverhulme funded project addresses legacies of Surrealism in American literary, artistic and activist cultures from 1941-78, focusing on the ways in which race, gender, class, and sexuality patterned responses to the movement. Far from moribund in an American context, my research argues that Surrealism was harnessed as a form of influential protest, and implicated in broader social, cultural and intellectual developments, such as the Beat Generation, the counterculture, the New Left, the anti-psychiatric and Black Arts movements.
I have published several articles on American avant-gardism and its intersections with Surrealism and with French theory. Forthcoming publications address Chicago Surrealism, grass roots political activism and popular culture, and queer responses to Surrealism in postwar American art.
I have published several articles on American avant-gardism and its intersections with Surrealism and with French theory. Forthcoming publications address Chicago Surrealism, grass roots political activism and popular culture, and queer responses to Surrealism in postwar American art.
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Pawlik, Joanna (2017) Re-membering surrealism in Charles Henri Ford’s Poem Posters (1964–5). Art History. ISSN 0141-6790
[img] PDF - Accepted Version
Restricted to SRO admin only until 27 May 2019.
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Official URL: http://dx.doi.org/10.1111/1467-8365.12302
Abstract
This article explores Charles Henri Ford’s Poem Posters series of 1964–5 and the ‘Having Wonderful Time Wish You Were Here’: Postcards to Charles Henri Ford exhibition at the Iolas Gallery (New York, 1976). Ford’s editorship of View magazine (1940–7) is well known in scholarship on surrealism’s reception in America, but less frequently explored are the ways in which his later artistic and curatorial practice self-consciously continued the publication’s mission of promoting a queer and partisan identity for the movement. Ford does more than simply enable surrealism to resonate further than its epicentre. He intervenes at the level of historiography, an intervention, this article argues, which is implicated in his efforts to rethink the movement’s sexual politics. Drawing on Elizabeth Freeman’s scholarship on queer temporalities, this article considers how Ford’s anachronistic recourse to surrealism in the 1940s and again in the 1960s, long after the movement had passed its expiry date, aligns disruption of linear narratives of avant-gardism with a recalculation of its customary heteronormativity.
+ Tools
Pawlik, Joanna (2017) Re-membering surrealism in Charles Henri Ford’s Poem Posters (1964–5). Art History. ISSN 0141-6790
[img] PDF - Accepted Version
Restricted to SRO admin only until 27 May 2019.
Download (372kB)
Official URL: http://dx.doi.org/10.1111/1467-8365.12302
Abstract
This article explores Charles Henri Ford’s Poem Posters series of 1964–5 and the ‘Having Wonderful Time Wish You Were Here’: Postcards to Charles Henri Ford exhibition at the Iolas Gallery (New York, 1976). Ford’s editorship of View magazine (1940–7) is well known in scholarship on surrealism’s reception in America, but less frequently explored are the ways in which his later artistic and curatorial practice self-consciously continued the publication’s mission of promoting a queer and partisan identity for the movement. Ford does more than simply enable surrealism to resonate further than its epicentre. He intervenes at the level of historiography, an intervention, this article argues, which is implicated in his efforts to rethink the movement’s sexual politics. Drawing on Elizabeth Freeman’s scholarship on queer temporalities, this article considers how Ford’s anachronistic recourse to surrealism in the 1940s and again in the 1960s, long after the movement had passed its expiry date, aligns disruption of linear narratives of avant-gardism with a recalculation of its customary heteronormativity.