Spanning a period of more than 20 years, the works in Antonin Artaud: Drawings and Portraits are a devastating record of a soul lashing out and grasping at the page.
With their free interplay of image and text, Spero’s Codex Artaud and the even more ambitious Notes in Time are nothing less than a personal redefinition of the nature and meaning of visual art.
Germaine Dulac may have just been too far ahead of her time as a queer woman filmmaker, and too prodigious in her output to receive proper recognition in any category.
PARIS — In 1947, at the urging of Paris gallery owner Pierre Loeb, anguished French poet, actor, philosopher, madman, genius, playwright, and director Antonin Artaud fêted Vincent Van Gogh in a bizarre but exquisite text that rails against universal imbecility.
Imagine the following scenario: You and your wife live on Manhattan’s Lower East Side. You start a greeting card company, Ink Weed Arts, in 1951, just after the two of you get married. You are a poet and she is a dancer who works as a hand and foot model in advertising. The two of you want to offer an alternative to the insipid messages of Hallmark Cards.