At the Gallery

A discussion of another way to think about post-War and contemporary art, particularly the context into which Jim Chatelain fits: What if Surrealism, not Cubism, had emerged as the dominant force to shape the course of postwar art in America? What if it were subject matter, not form, that had been primary to artists in those crucial Atomic years in the United States? This opens up a huge range of work by a vast plurality of voices, many of whom were attracted by precisely its discredited nature, across the country not otherwise included in discussions of the artworlds of the 1960s, 70s, and 80s. This lecture is made possible with generous support from the Judd Family Endowed Fund.