"Geography has no bearing on it, nor have the interests of the community in which I work"
About this Quote
A refusal dressed as a shrug: Tanguy’s line is the artist’s cleanest way of saying, “Don’t recruit my work for your local causes.” Coming from a Surrealist associated with Breton’s Paris circle and later an expatriate in the United States, the statement reads like a preemptive strike against two pressures that dog modern art: regional branding and civic utility. In the early-to-mid 20th century, geography was a curatorial hook (French avant-garde vs. American modernism), while “community interests” often meant murals, nationalism, morale, propaganda, or, later, the softer demand that art be socially legible and publicly accountable.
Tanguy’s paintings are famously unplaceable: barren, dreamlike plains where biomorphic forms hover in a slow, alien logic. The quote defends that unplaceability as principle, not accident. He’s insisting that the psyche - the Surrealist engine room - isn’t a postcard, and that the imagination shouldn’t be audited by the town council. The subtext is prickly: if you need a map to understand the work, you’re asking it to do the wrong job.
There’s also a quiet rebuke to the midcentury appetite for “schools” and “scenes,” the way art history turns artists into representatives. Tanguy refuses to be a delegate. By denying both place and community as criteria, he claims a colder, riskier freedom: art accountable to its own internal weather, not to where it’s made or who might approve of it.
Tanguy’s paintings are famously unplaceable: barren, dreamlike plains where biomorphic forms hover in a slow, alien logic. The quote defends that unplaceability as principle, not accident. He’s insisting that the psyche - the Surrealist engine room - isn’t a postcard, and that the imagination shouldn’t be audited by the town council. The subtext is prickly: if you need a map to understand the work, you’re asking it to do the wrong job.
There’s also a quiet rebuke to the midcentury appetite for “schools” and “scenes,” the way art history turns artists into representatives. Tanguy refuses to be a delegate. By denying both place and community as criteria, he claims a colder, riskier freedom: art accountable to its own internal weather, not to where it’s made or who might approve of it.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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