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  • International Journal of Surrealism

Journal Information

  • ISSN: 2837-4657
  • eISSN: 2837-4649
  • Frequency: Twice per year


International Journal of Surrealism (IJS) creates a welcome space for critical ideas and debate centered on Surrealism, its international history, and its ongoing worldwide influence on contemporary culture. The journal seeks to document, celebrate, and interrogate the intellectual and aesthetic repercussions of the Surrealist movement across a wide array of fields: literature and literary theory; painting, sculpture, and photography; performance, film, and music; and philosophy, political thought, and new media.

Encompassing both scholarly and creative perspectives on Surrealism and its global manifestations, IJS is committed to exploring the practice and reception of Surrealism around the world, throughout the Global South as well as in Europe and the Global North, within and by Indigenous cultures and international movements. IJS is attentive to individualism and collective identity; global and transcultural modernity and modernism; and science, ecology, and natural history. 

IJS upholds the mission of the International Society for the Study of Surrealism (ISSS), serving as a platform for Surrealist studies in the contemporary moment and for the digital age.

Editorial Information


Kate Conley, William & Mary

Alyce Mahon, University of Cambridge

Managing Editor (Manifold Edition)

Joanna Pawlik, University of Sussex

Associate Editor for Artistic Projects (Manifold Edition)

Maria Clara Bernal, Universidad de Los Andes-Bogotá

Book and Exhibition Reviews Co-Editors

Anna Watz, Upsala University

Elliott King, Washington and Lee University

Editorial Collective

Tiffany Barber, University of California at Los Angeles

Krzysztof Fijalkowski, Norwich University of the Arts

Felicity Gee, University of Exeter

Andrea Gremels, Goethe-Universität, Frankfurt

Rachael Grew, Loughborough University

Catherin Hansen, University of Tokyo

Christina Helflin,  University of Paris-Panthéon-Sorbonne

Danielle Johnson,  Eskenazi Museum of Art, Indiana University

Natalya Lusty, University of Melbourne

Catriona McAra,  University of Aberdeen

Raymond Spiteri, Victoria University of Wellington

Abigail Susik, Willamette University

Simon Weir, University of Sydney

Advisory Board

Sam Bardaouil, Art Reoriented

Stephanie D’Alessandro, Metropolitan Museum of Art

Julia Drost, Deutsches Forum für Kunstgerschichte Paris

Jonathan P. Eburne, Pennsylvania State University

Adrienne Edwards, Whitney Museum of American Art

Brent Hayes Edwards, Columbia University

Fabrice Flahutez, Université Lyon-Saint-Étienne

Terri Simone Francis, University of Miami

Effie Rentzou, Princeton University

Donna Roberts, University of Helsinki

Pierre Taminiaux, Georgetown University

Author Guidelines


Essays (between 6,000-10,000 words) should be prepared according to the Chicago Manual of Style. Authors’ names should not appear on manuscripts; instead, please include a separate document with the author’s name and address and the title of the article with your electronic submission. Authors should not refer to themselves in the first person in the submitted text or notes if such references would identify them; any necessary references to the author’s previous work, for example, should be in the third person. The International Journal of Surrealism does not accept articles that have been previously published in any language; essays simultaneously under review by other journals will not be considered. After an initial editorial review, all essays are double-blind peer-reviewed by two readers selected with the input of the journal’s Editorial Collective and Advisory Board.

Manuscripts in languages other than English are accepted for review but must be accompanied by a detailed summary in English (500–1,000 words) and must be translated into English if they are recommended for publication.

Submissions and editorial queries should be sent to IJSedit@umn.edu

Books for review should be addressed to:

Dr. Anna Watz

IJS Reviews Editor

Department of Culture and Society, Division of Language, Culture, and Interaction,

Linköping University, SE-581 83

Linköping, Sweden

Peer Review Process

All manuscripts submitted to the International Journal of Surrealism go through several stages of review. Submissions are initially reviewed internally by the journal’s editors. After this, all manuscripts deemed to fit the aims and scope of the journal, as well as adherence to basic standards of academic quality, are sent for double-blind peer review by two readers selected with the input of the Editorial Collective and Advisory Board.

Author Fees

The International Journal of Surrealism does not require author fees for publishing materials in the journal for non-Open Access submissions. Queries about Open Access Article Processing Charges (APCs) should be directed to the editorial team at: IJSedit@umn.edu


Copyright and Licensing

International Journal of Surrealism authors grant to the University of Minnesota the exclusive right to reproduce their essay and distribute it by all means and media now known or hereafter discovered. They also grant to the University the exclusive right to license others to reproduce all or part of their essay and distribute it by all means and media now known or hereafter discovered. The rights authors grant include, but are not limited to: original publication throughout the world in all languages; anthology; serial; digest; abridgment; condensation; adaptation; translation; dramatizations; photocopying; microfilm; reprint editions by other publishers; electronic media versions; display and transmission publicly or otherwise on-line, or through other electronic or digital means of transmission, and the right to copyright in the name of the International Society for the Study of Surrealism (ISSS).


University of Minnesota Press Policy on Institutional Repositories

A pre-print is the un-refereed version of an article. We ask authors to acknowledge its future publication and identify the journal, the year of publication, and the publisher. Please indicate that the article is a “working paper.”

A post-print is the peer-reviewed version (but not the final published version) of the article. Twelve (12) months after publication, authors may mount post-prints of their articles on their own web sites and/or institutional repositories on not-for-profit servers. Authors may not use the publisher-generated PDF. For post-prints, please include the following credit line: This article was published as [complete bibliographic citation as it appears in the print journal]. No part of this article may be reproduced, stored in a retrieval system, transmitted, or distributed, in any form, by any means, electronic, mechanical, photographic, or otherwise, without the prior permission of the University of Minnesota Press.

Publication Ethics and Malpractice Statement


  • The editors of the International Journal of Surrealism are responsible for identifying and contacting peer reviewers, always keeping in mind potential conflicts of interest and making sure that submissions are evaluated in terms of scholarly content and contribution without regard to the identity and affiliation of the author.
  • Submissions will not be discussed or shared beyond those directly involved in the publication process, such as reviewers and editorial staff.
  • The editors of the International Journal of Surrealism ensure the confidentiality of authors and reviewers.
  • Based on the International Journal of Surrealism’s internal and external review process, the editor decides whether to accept, reject, or encourage revision and resubmission of the manuscript. 



  • Guidelines for authors appear on the International Journal of Surrealism website and the University of Minnesota Press website and will be sent on request.
  • Authors are required to state whether the article has been submitted to or is under review with another publication and whether the article has previously been published in another language.
  • Authorship should be limited to those who have made a significant contribution to the submission. Authors should ensure that all the listed authors have seen and agreed to the submitted version of the manuscript and to the inclusion of their names as co-authors.
  • Authors are expected to respect the intellectual properties of others, through acknowledgement of sources, proper citation and attribution, quotation of direct texts taken from other sources, and recognition of research participants and research funders.
  • Before a submission can be published, authors will be required to sign the University of Minnesota Press Contributor Agreement Form and a Permissions Agreement regarding illustration and artwork.
  • Authors should communicate any errors discovered after publication directly to the editors and publisher.


Review Policies

  • The editors will independently review and select submissions in a confidential process, and reserve the right to reject any submission that does not meet the journal’s standard. Submissions will not be discussed or shared beyond those directly involved in the publication process, such as reviewers and editorial staff.
  • Articles undergo an internal review by the editor and, when relevant, members of the Editorial Board. If submissions are deemed appropriate for the journal, they undergo double-blind peer review. The International Journal of Surrealism sends authors reviewer comments and a decision about publication as expeditiously as possible.
  • The editors will make every effort to ensure that the selection process and peer review of submissions is fair and unbiased, and that peer review is undertaken by qualified scholars in the appropriate field who are free of conflicts of interest.
  • The editors’ decision to accept or reject an article for publication in the International Journal of Surrealism is based only on the submission’s relevance to the remit of the journal and the significance of the submission as a work of original scholarship.
  • Reviewers should have no potential conflict of interest.
  • Potential reviewers are provided with the title and abstract of the submission, and if they agree to serve as reviewers and have no conflicts of interest, are sent the International Journal of Surrealism’s review guidelines.
  • In order to protect the anonymity of the double-blind peer review process, reviewers are requested to keep confidential all information regarding submissions to the International Journal of Surrealism.
  • For revised resubmissions, authors should address all comments and suggestions by reviewers and provide an account of the revisions undertaken.


Conflict of Interest Guidelines


Conflicts of Interest are considered to occur when the editor has private interests that interfere with their ability to make an unbiased final decision on any manuscript. In cases where it is deemed an editorial conflict of interest exists, including (but not limited to) financial interest or a personal relationship with the author, the editors of the International Journal of Surrealism will disclose this to members of the Editorial Board and be recused from making a decision on the article.


Authors are expected to disclose any potential conflicts of interest. Conflicts of interests for authors occur when their private interests influence the objectivity of research. In order to avoid conflicts, authors should acknowledge the following upon submission of their manuscript:

  • All sources of research funding
  • Any financial or non-financial interests that may have impacted presentation of their research.

The following situations are considered conflicts of interest for reviewers and will be avoided:

  • Co-authoring publications with at least one of the authors in the past 3 years, not including edited collections.
  • Being colleagues within the same section / department or similar organization unit in the past 3 years.
  • Supervising / having supervised the doctoral work of the author(s) or being supervised / having been supervised by the author(s)
  • Having a personal relationship (e.g. family, close friend) with the author(s)
  • Having a direct or indirect financial interest in the paper being reviewed.

It is not considered a Conflict of Interest if the reviewers have worked together with the authors in a collaborative project or if they have co-organized an event.

Allegations of Misconduct

  • The editors will promptly investigate complaints related to pieces published in this journal.
  • When there is an allegation of academic misconduct, we solicit a response from those accused, seek full documentation of the allegation, and consult with the editorial board to determine any appropriate steps.
  • After consultation with the editorial board, the editors will work with the author(s) to ethically address the issue and come to the appropriate solution, whether that is revising the article, issuing an apology, and/or retracting the piece.



The editor(s) will consider retraction if:

  • They have evidence that the article presents unreliable findings, includes unethical or fabricated research, plagiarizes other materials, or infringes upon copyright.
  • The author(s) and / or reviewer(s) failed to disclose a major conflict of interest during the peer-review process that impacted the decision to publish by the editor

In all cases, the editor will promptly publish a retraction statement that clearly identifies the article and explains the reason for retraction.


For print individual and institutional orders, please click the subscribe button. To place a single title institutional subscription, Project MUSE account holders may use the Single Title Order Form.

To check the availability of back issues and to place a single copy order, please email journals@umn.edu.


Full page 6″ x 9″ $150
Half page 6″ x 4.25″ $75

Discounts are not available at this time.


Mechanical Requirements
  • Trim size is 7″ x 10″.
  • 133 line screen.
  • Camera-ready copy.
  • No color or bleeds.
  • PDF files also accepted.


Scheduling and advertising questions? Contact

International Journal of Surrealism
University of Minnesota Press
111 Third Ave. S., Suite 290
Minneapolis, MN  55401-2520

Phone: 612-301-1938
Fax: 612-301-1980

Additional Information

Copyright, Ownership, and Management

The copyright for the International Journal of Surrealism is held by the International Society for the Study of Surrealism (ISSS). Manuscript submission and review processes are managed by the editorial team at the International Journal of Surrealism, while the University of Minnesota Press coordinates production of the journal.

Governing Body

For up to date information on the International Journal of Surrealism’s Editorial Collective and Advisory Board see the “Editorial Information” tab.


All back issues of the International Journal of Surrealism are available digitally on Project MUSE and are archived separately by the University of Minnesota Press.

Revenue Sources

This journal makes revenue from subscriptions, advertising, and institutional sources. Publishing fees do not influence the editorial decision-making process.

Call For Papers

2.2: Surrealism and the Black World

Deadline: 1 June 2024

Recent museum exhibitions, university courses, and humanities publications have initiated new narratives on the minor histories of Surrealism outside of those of French poet and philosopher André Breton. Not only are Breton’s influences—Aimé and Suzanne Césaire and African diasporic art—cast aside in studies of the surrealist canon, so are the ways in which Surrealism has been used to articulate Black experience before, during, and after the long twentieth century. But the relationship between Blackness and Surrealism is rich. Articulations of this relationship show up in the literature of Zora Neale Hurston, Toni Morrison, and Henry Dumas; Amiri Baraka’s concept of “Afro-Surrealist Expressionism;” RomareBearden’s collages; D. Scot Miller’s 2013 Afrosurreal Manifesto; popular media by Jordan Peele, Donald Glover, Boots Riley, and Michaela Coel; the Afro-Gothic; Aria Dean’s “Black Bataille;” Alexander “Skunder” Boghossian and Hervé Télémaque’s paintings; Stephanie Dunning’s “the Black Weird;” and experimental films by Sarah Maldoror, Ousman Sembene, and those spotlighted in Terri Francis’ Afrosurrealist Film Society.

For the IJS 2.2 (Spring 2025) edition of the IJS we invite scholars and practitioners of art and art history, Black study, feminist study, literature, poetry, history, sociology, anthropology, museum studies, film andmedia studies, and other humanities disciplines to submit artwork and essays that address the relationship between Blackness and

Surrealism in global and transnational contexts. The goal of this issue is to explore how Black artists and intellectuals have grappled with Surrealism as a political, ontological, and aesthetic category and tool. It is also to consider how Black lived experience at once expands and undoes staid notions of Surrealism, of museum practice, and of art history’s disciplinary boundaries. Submissions that upend the whiteness of Surrealism and compose new framings of past, present, and future Black surrealist practices that exceed narratives of recuperation and repair are especially welcome.

Submissions should be 5000-7000 words in length, including footnotes, and be accompanied by up to 6 images per article (with copyright secured). They must conform to the Chicago Manual of Style. Manuscripts in languages other than English are accepted but must be accompanied by a detailed summary in English (generally of 5000 – 1000 words) and must be translated into English if they are recommended for publication. Manuscripts should be submitted in Microsoft Word format. The International Journal of Surrealism does not accept manuscript that have been previously published in any language. All content is double-blind peer-reviewed.

Essays should be submitted to: IJSedit@umn.edu and tebarber@humnet.ucla.edu

Queries and Correspondence should be addressed to: tebarber@humnet.ucla.edu

Guest Editors

Dr. Tiffany E. Barber is a prize-winning, internationally-recognized scholar, curator, and critic whose writing and expert commentary appears in top-tier academic journals, popular media outlets, and award-winning documentaries. Her work spans abstraction, dance, fashion, feminism, film, and the ethics of representation, focusing on artists of the Black diaspora working in the United States and the broader Atlantic world. Her latest curatorial project, a virtual, multimedia exhibition for Google Arts and Culture, examines the value of Afrofuturism in times of crisis. Dr. Barber is currently Assistant Professor of African American Art at the University of California-Los Angeles as well as curator-in-residence at the Delaware Contemporary. She is the recipient of the Smithsonian’s 2022 National Portrait Gallery Director’s EssayPrize.

Carine Harmand is the John Ellerman Foundation Curator at Tate Liverpool, and was a co-curator of the exhibition ‘Surrealism Beyond Borders’ at Tate Modern, London. She is a trustee of Mimosa House, London, a space dedicated to platforming women and queer artists and focusing on the fluidity of identity. Harmand is also on the advisory board of the Santo Domingo Centre for Excellence in Latin American Research at the British Museum, London. She has worked previously in a curatorial capacity in Cameroon, Mozambique and South Africa, and was co-curator of the exhibition I am Ashurbanipal, King of the World, King of Assyria at the British Museum in 2016. She holds an MA in Archaeology and Curatorial Studies from the School of the Louvre, Paris and an MA in Modern and Contemporary Art History and Theory from the University of Essex.