new-york

“Surrealism and Photography”

Prakapas Gallery

The authentically Surrealist photographs here, manipulating content to create an effect of contradiction with underlying connection, were few. True Surrealist photography does not depend on gimmicks or novelty, but rather on the fact that straight self-disclosure of content through appearance, when systematically and persistently carried through, leads to the loss of the sense of the content as “real.” The brilliance of authentic Surrealist photographs lies in their demonstration that photography, as a way of pushing to the limit of appearances, does just the opposite of what it is expected to do: it undermines and diminishes our sense of reality rather than enhances and encourages it. Thus, in Luis Bunuel’s 1929 photograph of a thin, young Salvador Dali, the fake white spider on his neck, his shadow on the stone wall behind him, and his posed intensity destroy our expectation that we will

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