This article explores Charles Henri Ford’s Poem Posters series of 1964–5 and the ‘Having Wonderful Time Wish You Were Here’: Postcards to Charles Henri Ford exhibition at the Iolas Gallery (New York, 1976). Ford’s editorship of View magazine (1940–7) is well known in scholarship on surrealism’s reception in America, but less frequently explored are the ways in which his later artistic and curatorial practice self-consciously continued the publication’s mission of promoting a queer and partisan identity for the movement. Ford does more than simply enable surrealism to resonate further than its epicentre. He intervenes at the level of historiography, an intervention, this article argues, which is implicated in his efforts to rethink the movement’s sexual politics. Drawing on Elizabeth Freeman’s scholarship on queer temporalities, this article considers how Ford’s anachronistic recourse to surrealism in the 1940s and again in the 1960s, long after the movement had passed its expiry date, aligns linear narratives of avant-gardism with a recalculation of its customary heteronormativity.

中文翻译：

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在查尔斯·亨利·福特的诗歌海报（1964-65）中回忆超现实主义

本文探讨了查尔斯·亨利·福特 1964-5 年的诗歌海报系列和“有美好时光希望你在这里”：查尔斯·亨利·福特在 Iolas 画廊（纽约，1976 年，1976 年）展览的明信片。福特担任 View 杂志（1940-7 年）的编辑在关于超现实主义在美国的接受方面的学术研究中广为人知，但很少有人探索他后来的艺术和策展实践有意识地继续该出版物促进酷儿和党派身份的使命的方式为运动。福特所做的不仅仅是让超现实主义在其震中之外产生更深的共鸣。他在史学层面进行干预，本文认为，这是一种干预，这与他重新思考运动的性政治的努力有关。借鉴伊丽莎白弗里曼关于酷儿时间的奖学金，