In her own words...



Women artists. There is no such thing – or person. It’s just as much a contradiction in terms as “man artist” or “elephant artist.” You may be a woman and you may be an artist; but the one is a given and the other is you.
                                  – Dorothea Tanning, 1990 

Exhibitions


“The Time is Now,” a show of works by women artists that demonstrate varying degrees of abstraction, is on view at Michael Rosenfeld Gallery, New York through August 4, 2017.  It includes the painting Kenningar (1961).

Dorothea Tanning's 1960 painting Visite jaune (Visite éclair) is featured in "(ism): 80 Years of Nonconformity" at Gallery Wendi Norris, San Francisco, through September 15, 2017.

"Dreamers Awake," a show of female artists' work that explores the lasting influence of Surrealism, is on view at White Cube Bermondsey in London through September 17, 2017. This show features the painting Anges Mordus (1962)

“Medusa: Jewellery and Taboos” at The Musée d’Art Moderne de la Ville de Paris, includes the gold brooch Mlle. Pieuvre (Miss Octopus) through November 5, 2017.

"We Are Completely Free: Women Artists and Surrealism," at Museo Picasso Málaga, will open October 10, 2017 and run through January 28, 2018, featuring the painting Eine Kleine Nachtmusik (1943).

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Publications


Catriona McAra has published a monograph entitled A Surrealist Stratigraphy of Dorothea Tanning's Chasm (London: Routledge, 2017). As part of Routledge's "Studies in Surrealism" series, the book explores the artist's literary and visual work within a framework of cultural and feminist theory.

Dr. McAra also recently published the essay "Emma's Navel: Dorothea Tanning's Narrative Sculpture" in Intersections: Women Artists/
Surrealism/Modernism
(Patricia Allmer, ed., Manchester University Press, 2016, pp. 91-111). The title refers to the sculpture Emma, 1970.

Sienna Freeman has published “Pulled, Stitched, and Stuffed: Materiality and the Abject in Dorothea Tanning’s Soft Sculpture” in Sightlines, the journal of the Department of Visual and Critical Studies of California College of the Arts (2016, pp. 17-29). The essay focuses on the installation piece Hôtel du Pavot, Chambre 202 (Poppy Hotel, Room 202) (1970-73).

Phaidon Press has published Art Is the Highest Form of Hope & Other Quotes by Artists (2016), a compilation that includes these words of Dorothea Tanning: “Art has always been the raft onto which we climb to save our sanity.”

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Ongoing Projects


We are looking for information about a number of paintings in the effort to fully document Dorothea Tanning's work for a catalogue raisonné. If you have seen any of these paintings, please contact us.


Concerning Wishes (1942)


Le Petit Marquis (1947)


Angel in Mauve and Orange (Study for Anges gardiens) (1947)


Les Infatigables (The Indefatigables) (1965)

 

 

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