The Surrealist’s work—currently on show at Tate Modern—is at once strange and familiar, nightmarish and beautiful
recently reported that less than one-fifth of the Tate Modern’s permanent International Surrealists collection is by women.Tanning was born in Illinois in 1918 and moved to New York in 1936. There she met Max Ernst, a Surrealist and pioneer of the Dada movement , and began a seven-decade career that encompassed painting, sculpture, poetry and prose. Her art is a strange delight. Amorphous bodies dance and twist across canvases, with flashes of bright colour.
Yet Tanning saw herself as both part of the Surrealism movement and separate from it, and her art revels and thrills in her contradictions. She painted domestic spaces that expanded into the realm of the imaginary; the doors she depicted so frequently, in works such as “Birthday” and “Maternity” —where a door stands on its own, wide open, in an arid desert—usually lead nowhere. The viewer is never guided to a clear answer about what her symbolism means.
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