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Max Ernst

At the Barbican Gallery and the De la Warr Pavilion, two exhibitions focus on the nature of collaboration and the role of creative influence 

Max Ernst, The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses (La Biciclette graminée garnie de grelots les grisons grivelés et les échinodermes courbants l'échine pour quêter des caresses), c. 1921. The Museum of Modern Art, New York. Purchase, 1937. © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: Robert Gerhardt

New York

23 Sep
1 Jan

Q: What do you like the look of? A: Pears

Max Ernst, Les Hommes  n’en sauront rien (Men Shall Know  Nothing of This), 1923,  oil on canvas, 80 × 60 cm. Courtesy: Tate, London

From conversations with friends including André Breton, William Burroughs and Caresse Crosby, to studying astronomy, physics and the Greek myths,

Collagist John Stezaker and writer-curator David Campany discuss the legacy of Surrealist encounters with photography

Max Ernst, Une Semaine de bonté (A Week of Kindness, 1934)

The many ways of owning an image