Amour Fou

Now back in stock: A collection of fabulous photographs by the foremost Surrealist artists.

Pablo Picasso’s endless fascination with his lover’s character and form led to radical shifts in his conception of portraiture and the mystical metamorphoses that the act of creation entails. Picasso’s secretive love affair with Marie-Therese Walter, which began in 1927, inspired a radical shift in his conception of portraiture. The exhibition and catalogue present Marie-Therese as a primary vehicle for his experimentation during the period, including several works never before seen in the United States as well as previously unpublished personal letters and photographs. Picasso and Marie-Therese sheds new light on the interpretation of one of the most creative relationships in Picasso’s rich and varied oeuvre.

'Who is Hakim Bey? I love him!' Timothy Leary'Exquisite...' Allen Ginsberg'Hard-line dada/surrealism' Rudy Rucker'A Blake angel on bad acid' Robert Anton Wilson'Scares the shit out of us' Church of the SubGeniusThe underground cult bestseller! Essays that redefine the psychogeographical nooks of autonomy. Recipes for poetic terror, anarcho -black magic, post-situ psychotropic surgery, denunciations of spiritual addictions to vapid infotainment cults -- this is the bastard classic, the watermark impressed upon our minds. Where conscience informs praxis, and action infects consciousness, T.A.Z. is beginning to worm its way into above-ground culture.This book offers inspired blasts of writing, from slogans to historical essays, on the need to insert revolutionary happiness into everyday life through poetic action, and celebrating the radical optimism present in outlaw cultures. It should appeal to alternative thinkers and punks everywhere, as it celebrates liberation, love and poetic living.The new edition contains the full text of Chaos: The Broadsheets of Ontological Anarchism, the complete communiques and flyers of the Association fo Ontological Anarchy, the long essay 'The Temporary Autonomous Zone,' and a new preface by the author.'A literary masterpiece...' Freedom'A linguistic romp...' Colin Wilson'Fascinating...' William Burroughs

Luis Buñuel (1900-1983) was one of the truly great film-makers of the twentieth century. Shaped by a repressive Jesuit education and a bourgeois family background, he reacted against both, escaped to Paris, and was soon embraced by André Breton's official surrealist group. His early films are his most aggressive and shocking, the slicing of the eyeball in Un Chien andalou (1929) one of the most memorable episodes in the history of cinema. The Forgotten Ones (1950) and He (1952), made in Mexico, were followed, from 1960, in Spain and France, by the films for which he is best known: Viridiana (1961), Belle de jour (1966), Tristana (1970), The Discreet Charm of the Bourgeoisie (1972), and That Obscure Object of Desire (1977). Gwynne Edwards analyses the films in the context of Buñuel's personal obsessions - sex, bourgeois values, and religion - suggesting that the film-maker experienced a degree of sexual inhibition surprising in a surrealist. GWYNNE EDWARDS is Professor of Spanish at the University of Wales, Aberystwyth.

Intimate love opens us up to suffering, sacrifice, and loss. Is it always worth the risk? Consulting philosophers, writers, and poets who draw insights from material life, Diane Enns shines a light on the limits of erotic love, exploring its paradoxes through personal and philosophical reflections. Situating experience at the center of her inquiry, Enns conducts philosophy "by another name," elaborating the ambiguities and risks of love with visceral clarity. Love in the Dark claims that intimacy must accept risk as long as love does not destroy the self. Erotic love inspires an inexplicable affirmation of another but can erode autonomy and vulnerability. There is a limit to love, and appreciating it requires a rethinking of love's liberal paradigms, which Enns traces back to the hostility toward the body and eros in Christianity and the Western philosophical tradition. Against a legacy of an abstract and sanitized love, Enns recasts erotic attachment as an event linked to conditional circumstances. The value of love lies in its intensity and depth, and its end does not negate love's truth or significance. Writing in a lyrical, genre-defying style, Enns delineates the paradoxes of love in its relations to lust, abuse, suffering, and grief to reach an account faithful to human experience.

Three decades after its first publication, The New Wave is still considered one of the fundamental texts on the French film movement of the same name. Led by filmmakers as influential as Truffaut and Godard, the New Wave was a seminal moment in cinematic history, and The New Wave has been hailed as the most complete book ever written about it. The New Wave tells the story of the New Wave through examinations of five of the most important directors of the era: Truffaut, Godard, Chabrol, Rohmer, and Rivette. With detailed notes and over fifty breathtaking stills, the book has appealed both to academics and interested novices alike. The thirtieth anniversary edition includes a new afterword by the author. Praise for the first edition of The New Wave: “The most complete book I know on the five most important directors of the New Wave.” - Costa-Gavras “At last a book that intelligently and critically examines that remarkable phenomenon known as the New Wave. Not just a book for film buffs, it is essential reading for anyone interested in the interrelations between art, politics, and life in the second half of the twentieth century. A remarkable achievement.” - Richard Roud, Founder, New York Film Festival “There is a genuine kind of honesty at work in the writing: a sense that the author wishes to describe the subject more clearly, help the reader, and not ‘explain’ (in the pompous sense of the word) or criticize for the sake of being superior. It’s refreshing.” - Ted Perry, Museum of Modern Art

"An important contribution to film theory. . . . Williams has a fluid, assured style. She is clearly in command of the subject. She's made a strong and original argument for the psychoanalytic basis of Surrealism."--James Monaco, author of The New Wave

Mad Love has been acknowledged an undisputed classic of the surrealist movement since its first publication in France in 1937. Its adulation of love as both mystery and revelation places it in the most abiding of literary traditions, but its stormy history and technical difficulty have prevented it from being translated into English until now. "There has never been any forbidden fruit. Only temptation is divine," writes André Breton, leader of the surrealists in Paris in the 1920s and '30s. Mad Love is dedicated to defying "the widespread opinion that love wears out, like the diamond, in its own dust." Celebrating breton's own love and lover, the book unveils the marvelous in everyday encounters and the hidden depths of ordinary things.