Surreal Friends brings together for the first time the work of three women Surrealist artists, brought together in exile in Mexico in the 1940s: British painter Leonora Carrington, Spanish painter Remedios Varo and Hungarian photographer Kati Horna. For all three women, Mexico offered freedom to explore their art in ways that had not been possible in Europe. Surreal Friends tells the fascinating story of their artistic friendship.

Vivienne Brough-Evans proposes a compelling new way of reevaluating aspects of international surrealism by means of the category of divin fou, and consequently deploys theories of sacred ecstasy as developed by the Collège de Sociologie (1937–39) as a critical tool in shedding new light on the literary oeuvre of non-French writers who worked both within and against a surrealist framework. The minor surrealist genre of prose literature is considered herein, rather than surrealism's mainstay, poetry, with the intention of fracturing preconceptions regarding the medium of surrealist expression. The aim is to explore whether International surrealism can begin to be more fully explained by an occluded strain of 'dissident' surrealist thought that searches outside the self through the affects of ekstasis. Bretonian surrealism is widely discussed in the field of surrealist studies, and there is a need to consider what is left out of surrealist practice when analysed through this Bretonian lens. The Collège de Sociologie and Georges Bataille's theories provide a model of such elements of 'dissident' surrealism, which is used to analyse surrealist or surrealist influenced prose by Alejo Carpentier, Leonora Carrington and Gellu Naum respectively representing postcolonial, feminist and Balkan locutions. The Collège and Bataille's 'dissident' surrealism diverges significantly from the concerns and approach towards the subject explored by surrealism. Using the concept of ekstasis to organise Bataille's theoretical ideas of excess and 'inner experience' and the Collège's thoughts on the sacred it is possible to propose a new way of reading types of International surrealist literature, many of which do not come to the forefront of the surrealist literary oeuvre.

Brandon follows the lives of the Surrealists--such as Andre Breton, Marcel Duchamp, Salvador Dali and Man Ray--through the movement, which culminated at the end of World War II. 24 pages of photos.

In honor of Frank’s 20th anniversary Fantagraphics is re-releasing the massive, long out of print Frank Book omnibus, which collected all the Frank material up to the mid-aughts, including several jaw-droppingly beautiful full-color stories, literally dozens of lushly-delineated black-and-white stories, and a treasure trove of covers and illustrations. The Frank Book also features an introduction by one of Frank’s biggest fans (himself a Frank, or almost): Francis Ford Coppola.

An evocative visual chronicle on the life of Leonora Carrington as seen through interiors, international locations and vintage photographs, this book leads the reader on a personal journey through the many spaces she inhabited and which infused and haunted her art and the people she knew. Long underrated, Carrington is now considered as one of the vanguard, not only in histories of women artists but also Surrealism; her interests feminism, ecology and life-enhancing art are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society and England to embrace new experiences and mix with artists in Europe and America, and to forge her own unique artistic style. From Lancashire to London, Cornwall to France and Spain, then to Mexico, New York and finally back to Mexico, each place and interior became etched in her memory whether her grandmothers kitchen with its giant stove, Parisian cafés, a rural French hideaway, the sanatorium in Santander or her Mexican sanctuary only to be echoed, sometimes decades later, in her paintings and writings. Houses are really bodies, she wrote in her novella The Hearing Trumpet (1974), We connect ourselves with walls, roofs, and objects just as we hang on to our livers, skeletons, flesh and blood streams.

In 2006 journalist Joanna Moorhead discovered that her father's cousin, Prim, who had disappeared many decades earlier, was now a famous artist in Mexico. Although rarely spoken of in her own family (regarded as a black sheep, a wild child; someone they were better off without) in the meantime Leonora Carrington had become a national treasure in Mexico, where she now lived, while her paintings are fetching ever-higher prices at auction today. Intrigued by her story, Joanna set off to Mexico City to find her lost relation. Later she was to return to Mexico ten times more between then and Leonora's death in 2011, sometimes staying for months at a time and subsequently travelling around Britain and through Europe in search of the loose ends of her tale. They spent days talking and reading together, drinking tea and tequila, going for walks and to parties and eating take away pizzas or dining out in her local restaurants as Leonora told Joanna the wild and amazing truth about a life that had taken her from the suffocating existence of a debutante in London via war-torn France with her lover, Max Ernst, to incarceration in an asylum and finally to the life of a recluse in Mexico City. Leonora was one of the last surviving participants in the Surrealist movement of the 1930s, a founding member of the Women's Liberation Movement in Mexico during the 1970s and a woman whose reputation will survive not only as a muse but as a novelist and a great artist. This book is the extraordinary story of Leonora Carrington's life, and of the friendship between two women, related by blood but previously unknown to one another, whose encounters were to change both their lives.