Angol
Investigation of American Surrealism should study the role of female Surrealists as artistic talents beyond the overly simplistic classification as muses for male Surrealists. Though denied status as a true Surrealist by founder Andre Breton, and viewed with disdain by some European Surrealists, Kay Sage self-aligned with Surrealist psychic dream ideology and embraced that ideology in her work. The artist's life was a chronicle of dissonance, difference from traditional expectations, and tragic consequence. Her paintings represent an autobiographical sketch of this narrative, reflecting interpretation of Sage's life via her unconscious mind. The first essay uses Sage's Watching the Clock and life events to examine concepts of endings that connect to possibilities beyond those ends considered by Frantz Fanon, Georges Didi-Huberman, and Ernst Jünger. The second essay examines Sage's artistic autobiography through representative paintings and how they interpret events in her life from a psychoanalytic perspective. Cultural analysis identifies iconological references and biographical analysis concentrates on events in Sage's life to augment psychoanalytic analysis. The primary psychoanalytic method is Jungian, specifically focusing on his ideas about the unconscious mind and philosophies linking personal history and childhood experiences with future behaviors. Jung argued that artistic production is an automatic manifestation of both one's personal memories and the archetypes founded within the collective unconscious of one's ancestral past. Applying Jungian psychoanalysis theory and interpretation of artwork as a visual manifestation of the unconscious, Sage's works are examined as autobiographical references and revelation of her psyche.
