Semina Image Gallery
for

Surrealism Meets Kabbalah: The Place of Semina in Mid-Century California Poetry and Art

Stephen Fredman

Fig. 1. Allen Ginsberg, Topanga Canyon, 1971, photograph by (and including) Wallace Berman, 16 x 20 inches. Private Collection, Courtesy Wallace Berman Estate..




Fig. 2. Wallace Berman, Ferus Gallery, 1957, photograph by Charles Brittin.



Fig. 3. Untitled (Multi-color shuffle), 1967, Wallace Berman, Color Verifax collage, 13 x 14 inches. Courtesy Wallace Berman Estate.



Fig. 4. Semina (issues 1-9), 1955-64.




Fig. 5. Untitled, Wallace Berman, 1956-7, Woodstain and ink on parchment, 19 ½ x 19 ½ inches. Collection of Hal Glicksman.



Fig. 6. Semina Gallery, Larkspur, 1961, photograph by Charles Brittin.



Fig. 7. Antonin Artaud, photograph on cover of Jack Hirschman, editor, Artaud Anthology, 2 nd revised edition (San Francisco: City Lights, 1965).




Fig. 8. “Peyote Poem” (1 st half), Michael McClure, Semina 3, 1958.




Fig. 9. “Excerpt from ‘Le Mexique et la Civilization,’” Artaud, Semina 3, 1958.




Fig. 10. “I Mexico after Artaud,” Kirby Doyle, Semina 3, 1958.




Fig. 11. “Memoria,” Philip Lamantia, Semina 3, 1958.




Fig. 12. “Photograph of Lamantia Injecting Heroin,” Wallace Berman (Pantale Xantos), 1959, incorporated in Berman’s cover for Lamantia’s Narcotica (San Francisco: Auerhahn Press, 1959).




Fig. 13. “O mexico your sadness is nut brown,” Bob Kaufman, Semina 3, 1958.