www.dalistudies.com


“Radical Dreams reignites Surrealism’s revolutionary appeal from the 1960s and 1970s and rewrites an often forgotten chapter of the movement.”



Stephanie D’Alessandro, Leonard A. Lauder Curator of Modern Art, The Metropolitan Museum of Art



select publications



Radical Dreams: Surrealism, Counterculture, Resistance (Co-edited with Abigail Susik),Penn State University Press 2022



Dalí: The Late Work (co-edited with David A. Brenneman), Yale University Press, New Haven / High Museum of Art, Atlanta 2010



Frida & Diego: Passion, Politics, and Painting (co-edited with Dot Tuer), Art Gallery of Ontario, Toronto 2012



Dalí, Surrealism and Cinema, Kamera Books, Herts (UK) 2007



“Le divin Dalí,” in Jean-Hubert Martin, Montse Aguer, Jean-Michel Bouhours, and Thierry Dufrêne (eds.), Dalí, Centre Georges Pompidou, Musée National d’Art Moderne, Paris / Museo Nacional Centro de Arte Reina Sofia, Madrid 2012, 266–267



Guest Editor, Salvador Dalí Special Issue, Journal of Surrealism and the Americas, Vol. 13 No. 1 (2022)



“Dalí y Warhol en Nueva York: ‘El cerebro de Alice Cooper’ como campo de batalla,” in José M. del Pino (ed.), El impacto de la metrópolis: La experiencia americana en Lorca, Dalí y Buñuel, Iberoamericana / Vervuert, 2018, 221–242



“Surrealism and Counterculture,” in David Hopkins (ed.), The Blackwell Companion to Dada and Surrealism, Wiley-Blackwell 2016, 416–430



“Ten Recipes for Immortality: A Study of Dalínian Science and Paranoiac Fictions,” in Gavin Parkinson (ed.), Surrealism, Science Fiction, and Comics, Liverpool University Press 2015, 213–232



“Falling to Heaven: Salvador Dalí, Marcel Pagés, and Levity at ‘the Centre of the Universe’,” in Mary D. Edwards and Elizabeth Bailey (eds.), Gravity in Art: Essays on Weight and Weightlessness in Painting, Sculpture and Photography, McFarland, Jefferson 2012, 253–264



“Little Black Dress, Little Red Book: Dalí, Mao, and Monarchy (with Special Attention to Trajan’s Glorious Testicles),” and “The Prodigious Story of the Lacemaker and the Rhinoceros,” in Michael R. Taylor (ed.), The Dalí Renaissance: New Perspectives on His Life and Art after 1940, Philadelphia Museum of Art, Philadelphia, in association with Yale University Press 2008



“Denise aux anges,” in Frédérique Joseph-Lowery and Isabelle Roussel-Gillet (eds.), Dalí sur les traces d’Eros, Éditions Notari, Geneva 2010, 324–330



“Dalí, Fashion and Advertising” (226–227) “Nuclear Mysticism” (246–249) “Dalí and Photography – Collaborations with Eric Schaal and Philippe Halsman” (266–268) “Dalí and Warhol” (296–297) “Late Dalí” (298–301), in Ted Gott (ed.), Dalí: Liquid Desire, National Gallery of Victoria, Melbourne, 2007



“Winged Fantasy with Lead Feet: The Influence of Llullism and Hiparxiologi on Dalí’s Mysticism,” in Hank Hine, William Jeffett and Kelly Reynolds (eds.), Persistence & Memory: New Critical Perspectives on Dalí at the Centennial, Bompiani Arte, Milan, 2004, 189–193



“Le temps dalínien fait mouche: Réflexions sur les « montres molles »,” in Astrid Ruffa, Philippe Kaenel, Danielle Chaperon (eds.), Salvador Dalí à la croisée des savoirs, Éditions Desjonquères, Paris, 2007, 37–52



“Dalí e il divino,” in Laura Bartolomé, Lucia Moni, and Francesca Villanti (eds.), Io Dalí, Palazzo delle Arti di Napoli, Gangemi Editore SpA International, 2018, 90–119



“Salvador Dalí’s Santiago El Grande, Equestrian Fantasy, and La Turbie: Portrait of Sir James Dunn,” in Terry Graff (ed.), Masterworks of the Beaverbrook Art Gallery, Beaverbrook Art Gallery and Goose Lane Editions, Fredericton, New Brunswick, 2013, 192–201. Published also in French as Chefs d’oeuvres de la Galerie d’art Beaverbrook, Beaverbrook Art Gallery and Goose Lane Editions


“Crazy Movies That Disappear,” in Matthew Gale (ed.), Dalí and Film, Tate Publishing, London / The Museum of Modern Art, New York, 2007, 214–229



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