Appropriated Photographs in French Surrealist Periodicals, 1924-1939
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1920s
1930s
A01=Linda Steer
Alice Prin
Andre Breton
appropriation
art historical methodology
Atget's Photograph
Atget’s Photograph
Author_Linda Steer
avant-garde movements
Bataille
Bataille's Article
Bataille's Essay
Bataille's Text
Bataille’s Article
Bataille’s Essay
Bataille’s Text
Black Birds
Boulevard De Strasbourg
Bretonian Surrealism
Burnham Libraries
Category=ABA
Category=AGA
Category=AJ
Convulsive Beauty
Crime Scene Photographs
cultural appropriation analysis
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Figure Humaine
forensic image interpretation
found objects
found photography
France
Georges Bataille
history of photography
Hollywood Dancers
John Hay Whitney Medical Library
Kelly's Body
Kelly’s Body
Man Ray
Nineteenth Century Ethnographic
Photographic Meaning
photographic theory
Ripper's Victims
Ripper’s Victims
Sexual Sadism
Surrealism
Surrealist Movement
surrealist periodical photography analysis
Surrealist Periodicals
Surrealist Photography
twentieth century
visual culture studies
Product details
- ISBN 9781032097770
- Weight: 360g
- Dimensions: 156 x 234mm
- Publication Date: 30 Jun 2021
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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The first monograph to analyze the Surrealist gesture of photographic appropriation, this study examines "found" photographs in three French Surrealist reviews published in the 1920s and 1930s: La Révolution surréaliste, edited by André Breton; Documents, edited by Georges Bataille; and Minotaure, edited by Breton and others. The book asks general questions about the production and deployment of meaning through photographs, but addresses more specifically the construction of a Surrealist practice of photography through the gesture of borrowing and re-contextualization and reveals something crucial both about Surrealist strategies and about the way photographs operate. The book is structured around four case studies, including scientific photographs of an hysteric in Charcot's clinic at the Salpêtrière hospital, positioned as poetry rather than pathology; and one of the first crime-scene photographs, depicting Jack the Ripper's last victim, radically transformed into a work of art. Linda Steer traces the trajectory of the found photographs, from their first location to their location in a Surrealist periodical. Her study shows that the act of removal and re-framing highlights the instability and mutability of photographic meaning an instability and mutability that has consequences for our understanding both of photography and of Surrealism in the 1920s and 1930s.
Linda Steer is Associate Professor in the Department of Visual Arts, Brock University, Canada.
