Group Exhibitions
1938 Exposition Internationale du Surre ́alisme; Galerie
Beaux-Arts, Paris, France
1985 L’Amour fou. Photography & Surrealism; Corcoran
Gallery of Art, Washington, D.C., and traveling
1994 Bunuel!AugedesJahrhunderts; Kunst-undAusstellung-
shalle der Bundesrepublik Germany, Bonn, Germany
1995 Fe ́minin/masculin. Le sexe de l’art; Centre Georges
Pompidou, Paris, France
1999 Puppen Ko ̈rper Automaten. Phantasmen der Moderne;
Kunstsammlung Nordrhein-Westfalen, Du ̈sseldorf, Ger-
many
2000 Die verletzte Diva. Hysterie, Ko ̈rper, Technik in der
Kunst des 20. Jahrhunderts; Kunstverein, Mu ̈nchen, Ger-
many; and Siemens Kulturprogramm, Mu ̈nchen, Ger-
many; and Sta ̈dtische Galerie im Lenbachhaus,
Mu ̈nchen, Germany; and Galerie im Taxispalais, Inns-
bruck, Austria; and Staatliche Kunsthalle, Baden-
Baden, Germany
2000 Surreale Welten; Kunsthalle, Hamburg, Germany, and
traveled to Von der Heydt-Museum, Wuppertal; Kunst-
halle, Tu ̈bingen; Neue National Galerie, Berlin, Ger-
many
2000 Der anagrammtische Ko ̈rper und seine mediale Kon-
strukton; ZKM - Zentrum fu ̈r Kunst und Medientech-
nologie, Karlsruhe, Germany
Further Reading
Dourthe, Pierre.Bellmer. Le Principe de perversion. Paris:
Jean Pierre Faure e ́diteur, 2000.
Gauthier, Xavie`re. ‘‘Das Werk Bellmers. Die Perversion.’’
InSurrealismus und Sexualita ̈t. Inszenierung der Wei-
blichkeit. Edited by Xavie`re Gauthier; translated by Hei-
ner Noger: Medusa Verlag Wo ̈lk + Schmid Berlin, 1980
(Editions Gallimard, Paris 1971).
Gorsen, Peter. ‘‘Das Theorem der Puppe.’’ InDer Ko ̈rper
und seine Sprachen. Edited by Hans-Ju ̈rgen Heinrichs,
Frankfurt am Main; Paris: Qumran, 1985.
Gorsen, Peter. ‘‘Die Erotik des hermaphroditischen Bildes.
Hans Bellmer und die Puppe.’’ InSexuala ̈sthetik. Grenz-
formen der Sinnlichkeit im 20. Jahrhundert. Edited by
Peter Gorsen, Reinbek bei Hamburg: Rowolths enzyk-
lopa ̈die, 1987.
Ka ̈ufer, Birgit. ‘‘Hans Bellmer und das Double der Wirk-
lichkeit.’’ InSurreale Welten. Edited by Kunsthalle.
Hamburg: SKIRA Editore Mailand, 2000.
Krauss, Rosalind, and Jane Livingston. ‘‘Corpus delicti.’’
InL’Amour fou. Photography & Surrealism. Washing-
ton, DC: The Corcoran Gallery of Art, 1985.
Lichtenstein, Therese.Behind Closed Doors: The Art of
Hans Bellmer. Berkeley: University of California Press,
2001.
Masson, Ce ́line.La Fabrique de la Poupe ́e chez Hans Bell-
mer. Le ‘‘feure-oeuvre perversif’’ une e ́tude clinique de’ob-
jet. Paris, Montreal: L’Harmattan, 2000.
Schade, Sigrid. ‘‘Hans Bellmer—Die Posen der Puppe.’’
Kairos4, no. 1 and 2 (1989).
Taylor, Sue.The Anatomy of Anxiety. Cambridge, MA:
MIT Press, 2000.
Taylor, Sue. ‘‘Hans Bellmer in the Art Institute of Chicago:
The Wandering Libido and the Hysterical Body.’’ In
Museum-Studiesvol. 22, no. 2 (1996).
Webb, Peter, and Robert Short.Hans Bellmer. London:
Quartet Book, 1985.JOHN BERGER
British
Painter, novelist, screenwriter, poet, critic, and oc-
casional photographer, John Berger was known
initially as the leading member of a group of post-
World War II painters dubbed ‘‘the Kitchen Sink
School’’ for their commitment to an unvarnished
working-class realism. Berger later gained fame as
a Marxist-oriented critic forThe New Statesman
and as the author of several novels, includingG,
which won the prestigious Booker Prize in 1972. In
the range of his interests and abilities (he has writ-
ten on topics as different as the life of Pablo Picasso
and the writings of the Mexican political activist
Subcommandante Marcos), he has few equivalents
among English-speaking writers. Unlike his Amer-
ican and European counterparts, he has worked
outside a university umbrella. The closest compar-
ison is with the late Michael Ayrton, an English
sculptor, essayist, and novelist. In the case of both,
their literary careers and recognition gradually
usurped their importance as artists, but their experi-
ence of art making has given tremendous force and
personality to their insights.
Although Berger has always been most attentive
to painting and drawing, his interest in photogra-
phy is longstanding and profound. It has produced
numerous essays, four book-length collaborations
with the French photographer Jean Mohr, includ-
ing the seminalAnother Way of Telling(1982), aBERGER, JOHN