Beware of Domestic Objects

This article focuses on the competing conceptions of surrealism held in the 1930s by Salvador Dalí and André Breton, which were centred on the notions of paranoia‐criticism and automatism. The article is oriented around the production of a number of surrealist objects and paintings in which these differences were articulated, and includes a discussion of the ways in which paranoia‐criticism and automatism were theorized in the 1930s. It includes as well a discussion of the surrealists’ critical relation to modern art, which is exemplified by the surrealist object, and of the way in which gender played a determining role in the conflict between the conceptions of surrealism offered by Dalí and Breton

Aesthetics · Art · Art criticism · Art history · Automatism (medicine) · Criticism · Epistemology · Equivocation · Linguistics · Literature · Modernism (music) · Object (grammar) · Painting · Paranoia · Performance art · Psychoanalysis · Relation (database) · Art, Politics, and Modernism · Art, Technology, and Culture · Cinema and Media Studies · Computer Science · Philosophy · Psychology