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An exploration of the surrealist artists, musicians, and performers who forged a unique experimental arts community in Alabama

Pataphysics and Surrealism in Alabama: A Cultural History is the first book to uncover a remarkable chapter in American experimental art, music, dance and writing, tracing the activities of a creative group known as Raudelunas, the music collective Transcendprovisation, and the surrealist association initially called Glass Veal: a series of interrelated artistic and cultural movements that originated in Tuscaloosa and Birmingham, Alabama, during the 1970s. Drawing on extensive archival research and firsthand accounts, including interviews with twenty-six participants in these groups, sound recordings, publications, and other primary sources, Steven Harris traces the history of a vibrant creative community that began when three University of Alabama students started improvising music together and encouraged others to join them.

From these sessions emerged a dynamic network of performers and artists whose work challenged conventional boundaries between disciplines. Inspired by musical improvisation, surrealism, and pataphysics, participants embraced spontaneity and absurdity as they developed a positive expression of creativity that was both uniquely Southern and sharply distinctive from the dominant culture that surrounded them.

Harris situates these movements within broader histories of Alabama, Dada, pataphysics, surrealism, and improvised music and dance while charting their lasting influence on the artists who participated in them. Featuring a timeline of major events, biographies of key members, and an anthology of representative writings, Pataphysics and Surrealism in Alabama is an essential contribution to the history of American experimental culture.
 

Examining musical instrument destruction through an ecological and intermedial lens

Musical instruments are typically seen as objects both used and maintained with ritualistic care. But what happens when they’re tossed from homes in mudslides, burned during ecstatic parties, or waterlogged by pop stars in viral videos—and how do these elemental interactions transform the way we see and play instruments? Piano Decompositions asks what happens when we let go of controlling musical instruments. What kind of meanings start to sound when instruments are moved out of the protected cultural space and engage with their surrounding elements?

Heidi Hart and Beate Schirrmacher trace the history of destroyed and decaying pianos, both sorting them within the realm of artistic violence against instruments and following their return journeys into water, sand, and soil. They parse the artistic vision of Annea Lockwood, whose iconic burning, drowning, and decaying Piano Transplants presented a novel means of drawing attention to the increasing threats of climate change in the 1960s and ’70s. Turning to instruments made from found materials and others played collaboratively with wind and water, they demonstrate how human sound making is entangled in the more-than-human world.

Showing how the piano can transform conversations around the Anthropocene and environmental destruction, Hart and Schirrmacher find the instrument to be a potent creative and ecological force, a medium to connect with environments in an explorative, attentive way. Piano Decompositions unearths new ways to relate our concepts of curiosity, pleasure, and music to the natural world.

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A fresh take on the group of artists known as the Pictures Generation, reinterpreting their work as haunted by the history of fascism, the threat of its return, and the effects of its recurring representation in postwar American culture.

The artists of the Pictures Generation, converging on New York City in the late 1970s, indelibly changed the shape of American art. Rebelling against abstraction, they borrowed liberally from the aesthetics of mass media and sometimes the work of other artists. It has long been thought that the group’s main contribution was to upend received conceptions of authorial originality. In Pictures and the Past, however, art critic and historian Alexander Bigman shows that there is more to this moment than just the advent of appropriation art. He presents us with a bold new interpretation of the Pictures group’s most significant work, in particular its recurring evocations of fascist iconography.

In the wake of the original Pictures show, curated by Douglas Crimp in 1977, artists such as Sarah Charlesworth, Jack Goldstein, Troy Brauntuch, Robert Longo, and Gretchen Bender raised pressing questions about what it means to perceive the world historically in a society saturated by images. Bigman argues that their references to past cataclysms—to the violence wrought by authoritarianism and totalitarianism—represent not only a coded form of political commentary about the 1980s but also a piercing reflection on the nature of collective memory. Throughout, Bigman situates their work within a larger cultural context including parallel trends in music, fashion, cinema, and literature. Pictures and the Past probes the shifting relationships between art, popular culture, memory, and politics in the 1970s and ’80s, examining how the specter of fascism loomed for artists then—and the ways it still looms for us today.