Words matter. These are the best Surrealism Quotes from famous people such as John Updike, Graham Joyce, Jessica Stroup, Alejandro Jodorowsky, Octavio Paz, and they’re great for sharing with your friends.
American art in general… takes to surreal exaggerations and metaphors; but its Puritan work ethic has little use for the playful self-indulgence behind Parisian Surrealism.
The overintellectualization of surrealism can be a bromide. A dream interpreted is a deflated dream.
I was raised by boys. I can hold my own, I can fight, and I love horror movies – simply for the scare factor and the surrealism.
The end of the surrealism movement was so political, so artistically pure.
Surrealism is not a poetry but a poetics, and even more, and more decisively, a world vision.
Surrealism was necessary – essential, even – in the 1920s to bridge the gap between rationalism and the subconscious. It started something important. But by the early ’60s, it had become petit-bourgeois; it was too intellectual and romantic, and had ground to a halt. It had become respectable.
Instead of stubbornly attempting to use surrealism for purposes of subversion, it is necessary to try to make of surrealism something as solid, complete and classic as the works of museums.
Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.
I know the new comedy god is surrealism, but it doesn’t touch my heart.
A few friends and me used to go and watch Bunuel, Carne, Cocteau… Cocteau and Bunuel were surrealism. And I was very excited by that. ‘Un Chien Andalou’, especially.
Surrealism is a bourgeois disaffection; that its militants thought it universal is only one of the signs that it is typically bourgeois.
Surrealism – in particular with Salvador Dali – was all about ego. It was all about extreme individualism.
Hyperrealism can create an atmosphere of surrealism because nobody sees the world in such detail.
But surrealism is present in most of my pictures.
Dali was the great painter then and surrealism was a way of life.
The type of work I do, which is often called ‘Pop Surrealism,’ is very separate from Gagosian and Mary Boone type of gallery art.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
As far as the style, I was fascinated by surrealism.
For me, surrealism is in my blood; it’s not an effort.
My cartoon strips in college strived to have the Schulzian mix of surrealism and Charlie Brown angst. A bit of that combo shows up in ‘Up.’
