From Andre Breton in the 1920s until the disciples of Salvador Dali in the 1960s, the Surrealist art movement probed the subconscious through dreams and imagination in an attempt to liberate its practitioners and their audiences. It is no wonder, then, that it appealed to Jews who fled Europe in search of freedom in the New World.
Though surrealism critiqued institutions of marriage, family and power, men dominated the movement. “In Wonderland: Surrealist Adventures of Women Artists,” currently on display at the Los Angeles County Museum of Art, aims to belatedly challenge that dominance. Highlighting surrealism in the United States and Mexico, it showcases heavyweights like Frida Kahlo and Helen Lundeberg, but also includes many female Jewish surrealists, such as Rose Mandel, Kati Horna, Ruth Bernhard and others who used Surrealist art to explore spirituality, psychology and trauma.
“Woman as muse and lover was an essential trope of surrealism,” wrote the curators of “In Wonderland,” Ilene Susan Fort and Tere Arcq. Nevertheless, “the male surrealists were misogynist in their denial of woman’s ability to create art.”
The exhibition at LACMA is a corrective to that tendency. Indeed, the women included pushed the boundaries of what constituted art, womanhood and, as the catalog for “In Wonderland” says, “empowered women and encouraged the rise of the feminist movement.” While few Jewish women surrealists directly addressed their ethnicity, much of their work responded to themes coming from their Jewishness, such as alienation, identity and displacement.
Unlike their male counterparts, who were more politically forthright, women surrealists usually expressed politics through the personal. Among those women was Berlin-born Ruth Bernhard, who fell into surrealist circles after she immigrated to New York City in 1927. Bernard felt her immigrant status and bisexual identity keenly. Her nude portraits of women, for which she is best known, illustrate this double sense of otherness.
“In the Box-Horizontal” (1962), Bernhard’s iconic photograph of a nude woman crammed into a cardboard box, critiques the confines of a narrowly defined sexuality. Still, the model in the photo seems to be elbowing her way out of the box, celebrating, in a sense, what many Jews from Europe sought in the United States: the possibilities for immigrants to escape their old identities and create new ones.
For immigrant surrealists in the United States and Mexico, their adopted country served as a literal and figurative expression of surrealist ideals. North America became a political safe haven for Jews running from pogroms and Nazism. Breton, Surrealism’s founding father, had termed Mexico a land of “convulsive beauty” and, in the imaginations of surrealists, the New World featured as a place uncorrupted by the Old World.