Table Of Contentalchemy in contemporary art
Alchemy in Contemporary Art analyzes the manner in which twentieth-century
artists, beginning with French Surrealists of the 1920s, have appropriated
concepts and imagery from the western alchemical tradition. This study
examines artistic production from c. 1920 to the present, with an emphasis on
the 1970s to 2000, discussing familiar names such as André Breton, Salvador
Dalí, Yves Klein, Joseph Beuys, and Anselm Kiefer, as well as many little
known artists of the later twentieth century. It provides a critical overview of
the alchemical tradition in twentieth-century art, and of the use of occultist
imagery as a code for political discourse and polemical engagement.
The study is the first to examine the influence of alchemy and the Surrealist
tradition on Australian as well as on Eastern European and Mexican art.
In addition, the text considers the manner in which women artists such as
Leonora Carrington, Remedios Varo, and Rebecca Horn have critically revised
the traditional sexist imagery of alchemy and occultism for their own feminist
purposes.
Urszula Szulakowska is a Lecturer in the School of Fine Art, History of Art & Cultural
Studies at the University of Leeds, UK. She has written extensively on the history of
alchemical illustration from the Renaissance period to the present day.
Dedicated to Max Stanley Warrington and his Babcia Matylda
Alchemy in Contemporary Art
Urszula Szulakowska
RO Routledge
U
TLE
DG Taylor & Francis Group
E
LONDON AND NEW YORK
First published 2011 by Ashgate Publishing
Published 2016 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright © 2011 Urszula Szulakowska
Urszula Szulakowska has asserted her right under the Copyright, Designs and
Patents Act, 1988, to be identified as the author of this work.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Notice:
Product or corporate names may be trademarks or registered trademarks, and are
used only for identification and explanation without intent to infringe.
British Library Cataloguing in Publication Data
Szulakowska, Urszula.
Alchemy in contemporary art.
1. Alchemy in art. 2. Occultism in art. 3. Art, Modern – 20th century. 4. Feminism
and art.
I. Title
704.9'49540112—dc22
Library of Congress Cataloging-in-Publication Data
Szulakowska, Urszula.
Alchemy in contemporary art / Urszula Szulakowska.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-7546-6736-0 (hardcover : alk. paper)
1. Alchemy in art. 2. Art, Modern – 20th century – Themes, motives. I. Title.
N7745.A4S98 2010
709.04—dc22
2010021628
ISBN 9780754667360 (hbk)
Contents
List of illustrations vii
Acknowledgements xi
Introduction 1
1 The alchemical legacy 11
2 The French Surrealists and alchemy 31
3 The theatre of alchemy: Artaud, Duchamp, Klein 45
4 Alchemy in American art? 59
5 Redemption 67
6 Black alchemy: The photographic laboratory 79
7 Gender and abjection 87
8 Women’s alchemy 93
9 Australian art and the esoteric tradition 109
10 Earth magic 141
11 Alchemy and art in the Czech state and Poland 177
Afterthought: Politics or poetry? 195
Bibliography 197
Index 209
Taylor & Francis
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Illustrations
2 The French Surrealists and alchemy With the kind permission of Christopher
Webster
2.1 Max Ernst, Men Shall Know Nothing
of This (1923) (painting, oil on canvas, 8 Women’s alchemy
80 × 64 cm), ADAGP, Paris and DACS,
London 2009. © Tate, London 2010
8.1 Leonora Carrington, The House
Opposite (c. 1945) (painting, oil on canvas)
3 The theatre of alchemy: Artaud,
© ARS, New York and DACS, London
Duchamp, Klein
2009. Photograph by courtesy of Edward
James Collection, West Dean
3.1 Marcel Duchamp, The Bride Stripped
Bare by her Bachelors, Even (The Large Glass)
9 Australian art and the esoteric
(1915–23), reconstruction by Richard
tradition
Hamilton (1965–66), lower panel remade
1985 (oil, lead, dust and varnish on
9.1 Robert Owen, Night Companion,
glass, 278 × 176 cm) © Succession Marcel
Duchamp/ADAGP, Paris and DACS, sculpture tower on the former 1988
London 2009. © Tate, London 2010 World Exposition site in Brisbane
(photograph by the author)
5 Redemption
9.2 Tom Arthur, Goodbye Carpet,
5.1 Joseph Beuys, Fat Battery (1963) Goodbye Small Door (1983) (mixed-media
(sculpture, felt, fat, tin, wood and board) installation). With the permission of Tom
© DACS 2009. © Tate, London 2010 Arthur
5.2 Joseph Beuys, Fat Chair (1964–85) 9.3 Tom Arthur, detail, Goodbye Carpet,
(mixed media, 183 × 155 × 64 cm) Goodbye Small Door (1983) (mixed-media
© DACS 2009. © Tate, London 2010 installation). With the permission of Tom
Arthur
6 Black alchemy: The photographic
laboratory 9.4 David Moses, Untitled (Hill’s
Hoist) from The Bride series (mid-1990s)
6.1 Christopher Webster, Those Who
(computer-generated image). With the
Die Dancing (2005) (photograph, oils and
permission of the Estate of David Moses
pastels on aluminium, 105 × 300 cm).
viii alchemy in contemporary art
9.5 David Moses, X-Borders (1995) from Chapel, Halifax (1991). Courtesy of the
The Bride series, (computer-generated Henry Moore Institute. Photo: Jerry
image). With the permission of the Estate Hardman-Jones. By courtesy of the artist
of David Moses
10.5 Ian Howard, Alchemia (screenprint,
9.6 Rose Farrell and George Parkin, 107 × 76 cm) from series The Heretical
Whole Desire from Worthy Habits Diagrams (published by Peacock
and Mantles (1990) (colour C-type Printmakers, Aberdeen, 1996). By
photograph). With the permission of courtesy of the artist
Rose Farrell and George Parkin
10.6 Ian Howard, Ritratto (etching with
9.7 Heinrich Khunrath, the alchemist lithograph and rubber stamps, 107 ×
in his laboratory, Amphiteatrum 76 cm), from series The Heretical Diagrams
Sapientiae Aeternae (Hanau, 1607), (published by Peacock Printmakers,
engraving. Photograph by courtesy of Aberdeen, 1996). By courtesy of the artist
Special Collections, Brotherton Library,
University of Leeds
10.7 David Walker-Barker, We are on
a route uncharted (2001) (assemblage,
9.8 Rose Farrell and George Parkin, The
height 111 cm, width 70 cm). By courtesy
Silk Weaver from Restoration series (2008)
of the artist
(colour C-type photograph). With the
permission of Rose Farrell and George
10.8 David Walker-Barker, Kettleness
Parkin
Layers. Jurassic Alum Shales (2004)
(assemblage, bottles with chemicals such
9.9 Luke Roberts, Pope Alice: Outback
as alum, painted side panels, inserts of
Tea Ceremony (2009) (photograph of
metal tools, 115 × 77 cm). By courtesy of
Pope Alice in performance), Alpha,
the artist
Queensland. With the kind permission of
Luke Roberts
10.9 Rob Ward, The Miller’s Song (1998)
(acrylic drawing in deep yellow on
10 Earth magic
ceramic paper with two bronze chalices
on pillars, 234 × 183 × 24 cm). With the
10.1 Alan Davie, Village Myths No. 39
permission of Robert Ward
(July 1983) (oil on canvas, 214 × 173 cm)
London, Tate Gallery Collection. With
10.10 Rob Ward, King and Queen (2005–
the permission of Alan Davie
2006) (black and white marble). With the
permission of Robert Ward
10.2 Joe Tilson, Alchera (1970–74)
(screenprint on paper) © Joe Tilson. All
rights reserved, DACS 2009. © Tate, 10.11 Norman Pearce, Untitled (The
London 2010 Transformation Scene) (2009), after wall
graffiti by Banksy (acrylic on canvas, 132 ×
10.3 Glen Onwin, Emerald Table, As 99 cm). Courtesy of Norman Pearce, 2009
Above So Below (mixed-media installation
on three floors and in corridors), Square 10.12 Bill Woodrow, The Hive (2005)
Chapel, Halifax (1991). Courtesy of the (bronze, glass, paint, 124 × 140 × 141 cm;
Henry Moore Institute. Photo: Jerry edition of eight plus four artist’s casts).
Hardman-Jones. By courtesy of the artist Courtesy the artist
10.4 Glen Onwin, Emerald Table, As 10.13 Bill Woodrow, Sulphur, BW94/21
Above So Below, installation, Square from The Periodic Table (1994) (21 black
illustrations ix
and white linocuts on 270 gsm BFK Rives canvas, 150 × 200 cm) (photograph by
paper; Book 30, portfolio 30; printed Dominik Kulasiewicz). By courtesy of
by Simon King, Cumbria; published by the artist
Paragon Press, London). Courtesy the
artist 11.2 Krzysztof Gliszczyński, Urny
(Urns) (1998–99) (installation, oil and
11 Alchemy and art in the Czech state encaustic fragments of paint in glass
and Poland containers). By courtesy of the artist
11.1 Krzysztof Gliszczyński, Autoportret
à Retour, No. 8 (2005) (oil, encaustic on
