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
"Dimensionism: Modern Art in the Age of Einstein" is on view at the Mead Art Museum, Amherst, through July 28. It will then travel to the Zimmerli Art Museum at Rutgers University, New Brunswick, September 3 - January 5. Exploring the influence of revolutionary advances in science on modern art, the exhibition includes the painting Midi et demi (Half Past Noon) (1956-57).
“The Female Gaze: Women Surrealists in the Americas and Europe” has opened in the New York gallery of Heather James Fine Art. Including several works on paper, the show is on view through July 31.
“Open Call: Group 2,” is on view at The Shed in New York through August 25. A section curated by artists Maryam Hoseini and Phoebe d'Heurle will feature several works, including Un tissu de songes (Web of Dreams) (1973-93).
“Monsters & Myths: Surrealism and War in the 1930s and 1940s” is on view at the Frist Art Museum, Nashville, through September 29. The exhibition features the painting The Temptation of St. Anthony (1945) in an exploration of the Surrealists’ portrayals of monsters, fragmented bodies, and other depictions of the grotesque as metaphors for the destabilizing consequences of war and psychological fears and fantasies of unbridled power.
"Collection Close-Up: The Graphic Work of Dorothea Tanning" at The Menil Collection in Houston celebrates a gift of a full set of Tanning's prints and artist's books from Barbara and Jim Metcalf and the Gallery of Surrealism, New York. On view through October 19, the exhibit will includes the lithograph Deuxième péril from the portfolio Les 7 périls spectraux (1950).
The Museo Nacional Centro de Arte Reina Sofía in Madrid has published a fully illustrated catalogue in conjunction with the exhibition "Dorothea Tanning: Behind the Door, Another Invisible Door." The catalogue includes essays by exhibition curator Alyce Mahon, who gives an overview of the artist's career, and Tate curator Ann Coxon, who explores Tanning's work in light of the legacies of Surrealism and contemporary art practice. The catalogue is published in Spanish and English.
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.