The LSU MOA staff dives into surrealism and selects a few of their favorite prints on display in Bonjour | Au Revoir Surréalisme. Share yours with us via social media by tagging #lsumoa.
Jane Graverol (Belgian, 1905–1984), Untitled, from Les Divinités Naturelles (Natural Divinities), 1973, engraving, From the Collection of Georges Visat.
"My favorite print is by Jane Graverol displaying the interior of a room with a fish tank. The color scheme, linear quality, and strange sense of perspective lead your eye around the work until your attention is focused on the word "Message" across a bottle. I like the simplicity and playfulness of the print; reminds me of an illustration you would find in a Dr. Seuss book."—Rebecca Franzella, education curator
René Magritte (Belgian, 1898–1967), L’oeil (The eye), from Le Lien de Paille (The Straw Link), 1969, engraving, From the Collection of Georges Visat
"I really enjoy the simplicity in the selection of René Magritte’s work compared to many of the other prints we have on display. L’oeil is a perfect example of that, and really puts the focus on the single element he’s illustrating. It also feels reminiscent of a vintage movie poster, maybe for a Hitchcock film, which I especially love. All of that paired with the stark black framing of her bright green eye has drawn me to this piece every time I visit the exhibition."—Brandi Simmons, communications coordinator
Jane Graverol (Belgian, 1905–1984), Untitled, from Les Divinités Naturelles (Natural Divinities), 1973, engraving, From the Collection of Georges Visat.
"I appreciate this print by Jane Graverol, one of the lesser-known, late surrealist artists represented that make this exhibition so interesting. Graverol is one of the few female artists included in the exhibition. While it seems obvious now, I looked at this piece several times without seeing the figure framed by the flames. Surrealist art often situates or loads desire in the female form, sometimes in disturbing ways. Graverol's treatment, in which the body present through absence, opens the female form to less corporeal or fetishized readings. The form creates a presence and absence that seems to question the female body as a vessel for desire. The cool colors of the suggested horizon suggest the sentient presence of the woman shifting the focus away from corporeality."—Courtney Taylor, curator
Man Ray (American, 1890–1976), Untitled, from Electro-Magie, (Electro-Magic), 1969, etching, From the Collection of Georges Visat
"I love this print by Man Ray because much is communicated in few lines. Although the image might be designed simply for aesthetics, I think that the viewer can read into its meaning in a variety of ways. The flatness of the line and color are also intriguing and evoke a visual quality that comes uniquely from prints. "—Malarie Zaunbrecher, communications intern
Bonjour | Au Revoir Surréalisme: Prints from the Atelier of Georges Visat is on view through March 25, 2018. Generous support for this exhibition provided by Taylor, Porter, Brooks & Phillips L.L.P. and Annual Exhibition Fund donors icnluding the Imo Brown Memorial Fund in memory of Heidel Brown and Mary Ann Brown, Louisiana CAT, and the L. Cary Saurage II Fund.