Photography SurreaJjsm - Monoskop
photography & surreaJjsmRosalind KraussJane Livingstonwith an essay byDawn AdesThe Corcoran Gallery of Art, Washington, D.C.Abbeville Press, Publishers, New York
\Designers: Alex and Caroline Castro,Hollowpress, BaltimoreEditor: Alan AxelrodProduction manager: Dana Cole(c) 1985 Cross River Press, Ltd.All rights reserved under International and Pan-American CopyrightConventions. No part of this book may be reproduced or utilized inany form rby any means, electronic or mechanical, includingphotocopying, recording, or by any information storage andretrieval system, without permission in writing from the Publisher.Inquiries should be addressed to Abbeville Press, Inc . 505 ParkAvenue, New York 10022.Printed and bound in Hong Kong.Library of Congress Cataloging in Publication DataKrauss, Rosalind E.L'amour fou.Issued in conjunction with an exhibition held at theCorcoran Gallery of Art, Sept.-Nov., 1985.Bibliography: pIncludes index.Contents: Preface/Rosalind Krauss and JaneLivingston Photography in the service of surrealism!Rosalind Krauss-Man Ray and surrealist photography!Jane Livingston-[ete.]1. Photography, Artistic-Exhibitions. 2. SurrealismExhibitions. !. Livingston, Jane. II. Ades, Dawn,111, Corcoran Gallery of Art. IV. Title.TR646.U6W3761985ISBN 0-89659-576-5ISBN 0-89659-579-X (pbk.)779'.09'0485-5976Picture credits:Works by Bellmer, Ubac, Man Ray A.D.A.G.P . ParisIV.A.G.A .New York, 1985.Works by Brassa'i copyright Gilberte Brassa'i.Works by Dali, Ernst, Hugnet S.P.A.D.E.M . ParisIV.A.G.A . NewYork, 1985.Works by Rene Magritte Georgette Magritte, 1985.Works by Leo Malet reproduced with the permission of the artist.Works by Lee Miller Lee Miller Archives, 1985.Works by Roger Parry reproduced with the permission of MadeleineParry.Works by Roland Penrose Roland Penrose, 1985.
ContentsPrefaceROSALIND KRAUSS9andJANE LIVINGSTONPhotography in the Service of Surrealism15ROSALIND KRAUSSCorpus Delicti57ROSALIND KRAUSSMan Ray and Surrealist Photography115JANE LIVINGSTONPhotography and the Surrealist Text155DAWN ADESArtist Biographies and BibliographiesCompiled by WINIFREDIndex195SCHIFFMAN239
1I1IIj,1IJIIIi\fJPhotography jn the Servjce of SurreaJjsmRosalind Krauss
L'AMOUR FOUFig. 6. Man Ray, Monument iJ D. A. F. de Sade, 1933. Vera and Arturo Schwarz Collection, Milan.14l
When wifl we have sleeping logicians, sleeping philosophers?I would like to sleep, in order to surrender myself to the dreamers, , ,-Manifesto of Surrealism'II\ItHere is a paradox, It would seem that there cannot besurrealism and photography, but only surrealism orphotography, For surrealism was defined from the startas a revolution in values, a reorganization of the veryway the real was conceived, Therefore, as its leader andfounder, the poet Andre Breton, declared, "for a totalrevision of real values, the plastic work of art will eitherrefer to a purely internal model or will cease to exist.'"These internal models were assembled when consciousness lapses, In dream, in free association, in hypnoticstates, in automatism, in ecstacy or delirium, the "purecreations of the mind" were able to erupt,Now, if painting might hope to chart these depths,photography would seem most unlikely as a medium, Andindeed, in the First Manifesto of Surrealism (1924),Breton's aversion to "the real form of real objects"expresses itself in, for example, a dislike of the literaryrealism of the nineteenth-century novel disparaged, precisely, as photographic, "And the descriptions!" he deplores, "Nothing compares to their nonentity: they aresimply superimposed pictures taken out of a catalogue,the author, " takes every opportunity to slip me thesepostcards, he tries to make me see eye to eye with himabout the obvious,"3 Breton's own "nove]" Nadja (1928),which was copiously illustrated with photographs exactlyto obviate the need for such written descriptions, disappointed its author as he looked at its "illustrated part."For the photographs seemed to him to leave the magicalplaces he had passed through stripped of their aura,turned "dead and disillusioning.'"But that did not stop Breton from continuing to act onthe call he had issued in 1925 when he demanded, "andwhen will all the books that are worth anything stopbeing illustrated with drawings and appear only withphotographs?,,5 The photographs by Man Ray and Brassa'!that had ornamented the sections from the novel L 'Amourfou (1937) that had first appeared in the surrealistperiodical Minotaure survived in the final version, faithfully keyed to the text with those "word-for-word quotations ' , , as in old chambermaid's books" that had sofascinated the critic Walter Benjamin when he thoughtabout their anomolous presence, Thus in one of the mostcentral articulations of the surrealist experience of the1930s, photography continued, as Benjamin said, to"intervene,"6Indeed, it had intervened all during the 1920s in thejournals published by the movment, journals that continually served to exemplify, to define, to manifest, what itwas that was surreal. Man Ray begins in La Revolutionsurrealiste, contributing six photographs to the first issuealone, to be joined by those surrealist artists like Magritte, who were experimenting in photomontage and later, inLe Surrealisme au service de la revolution, bY,Breton aswell, In Documents it was Jacques-Andre BOiffard whomanifested the sensibility photographically, And by thetime of Minotaure's operation, Man Ray was workingalong with Raoul Ubac and Brassat But the issue is notjust that these books and journals contained photographs-or tolerated them, as it were, The more important fact is that in a few of these photographs surrealism15
L'AMOUR FOUFig. 8. Jacques-Andre Boiffard, Untitled (for Nadia), 1928.Collection Lucien Treillard, Paris.Fig. 9. Jacques-Andre Boiffard, Untitled (for Nadia), 1938.Collection Lucien Treillard, Paris.pages16-17, Fig. 7. Man Ray, Untitled, 1933. Private collection, Paris.18
PHOTOGRAPHY IN THE SERVICE OF SURREALISMin fact constitute some kind of unified visual field? Andcan we conceive this field as an aesthetic category?What Breton himself put together, however, in thefirst Surrealist Manifesto was not so much an aestheticcategory as it was a focus on certain states of minddreams-certain criteria-the marvelous-and certainprocesses-automatism. The exempla of these conditionscould be picked up, as though they were trouvaiIIes at aflea market, almost anywhere in history. And so Bretonfinds the "marvelous" in "the romantiC ruins, the modernmannequin . . Villon's gibbets, Baudelaire's couches."8And his famous incantatory list of history's surrealistsis precisely the demonstration of a "found" aesthetic,rather than one that thinks itself through the formalcoherence of, say, a period style:achieved some of its supreme images-images of fargreater power than most of what was done in theremorselessly labored paintings and drawings that cameincreasingly to establish the identity of Breton's conceptof "surrealism and painting,"If we look at certain of these photographs, we seewith a shock of recognition the simultaneous effect ofdisplacement and condensation, the very operations ofsymbol formation, hard at work on the flesh of the real.In Man Ray's Monument il D. A F. de Sade (fig. 6), forexample, our perception of nude buttocks is guided byan act of rotation, as the cruciform inner "frame" forthis image is transformed into the figure of the phallus.The sense of capture that is simultaneously implied bythis fall is then heightened by the structural reciprocitybetween frame and image, container and contained. Forit is the frame that counteracts the effects of the lightingon the flesh, a luminous intensity that causes the nudebody to dissolve as it moves with increasing insubstantiality toward the edges of the sheet, seeming as it goesto become as thin as paper. Only the cruciform edges ofthe frame, rhyming with the clefts and folds of thephotographed anatomy, serve to reinject this field witha sense of the corporeal presence of the body, guarantyingits density by the act of drawing limits. But to call thisbody into being is to eroticize it forever, to freeze it asthe symbol of pleasure. In a variation on this theme oflimits, Man Ray's untiLled Minotaure image (fig. 7)displaces the visually decapitated head of a body downward to transform the recorded torso into the face of ananimal. And the cropping of the image by the photographicframe, a cropping that defines the bull's physiognomy bythe act of locating it, as it were-this cutting mimes thebeheading by shadow that is at work inside the image'sfield. So that in both these photographs a transformationof the real occurs through the action of the frame. Andin both, each in its own way, the frame is experiencedas figurative, as redrawing the elements inside it. Thesetwo images by Man Ray, the work of a photographer whoparticipated directly in the movement, are stunninginstances of surrealist visual practice. 7 But others,qualifying equally for this position as the "greatest" ofsurrealist images, are not really by "surrealists." Brassa'i's Involuntary Sculptures (Sculptures involuntaires;figs. 10, 28, 29, 30, 31) or his nudes for the journalMinotaure are examples. And this fact would seem toraise a problem. For how, with this blurring of boundaries,can we come to understand surrealist photography? Howcan we think of it as an aesthetic category? Do thephotographs that form a historical cluster, either asobjects made by surrealists or chosen by them, do theySwift is Surrealist in malice,Sade is Surrealist in sadism.Chateaubriand is Surrealist in exoticism.Constant is Surrealist in politics.Hugo is Surrealist when he isn't stupid.8In the beginning the surrealist movement may have hadits members, its paid-up subscribers, we could say, butthere were many more complimentary subscriptions beingsent by Breton to far-off places and into the distantpast WThis attitude, which annexed to surrealism such disparate artists as Uccello, GustaveMoreau, Seurat, andKlee, seemed bent on dismantling the very notion of style.One is therefore not surprised at the position the poetand revolutionary Pierre Naville took up against the"Beaux-Arts" when he limited the visual aesthetic of themovement to memory and the pleasure of the eyes. andproduced a list of those things that would produce thispleasure: streets, kiosks, automobiles, cinema, photographsl1 In modeling what he intended as the movement'sauthoritative journal, La Revolution surrealiste, after theFrench SCientific review La Nature, Naville wanted toclarify that this was not an artiTIagazine, and his deCision.as its editor, to include a great deal of photography waspredicated precisely, he has said, on the availability ofphotography's images-one could find them anywhere 12For Naville, artistic style was anathema. "I have notastes," he wrote, "except distaste. Masters, mastercrooks, smear your canvases. Everyone knows there isno surrealist painting. Neither the marks of a pencilabandoned to the accidents of gesture, nor the imageretracing the forms of the dream. "13To place in this way a ban on accident and dream asthe basis of a visual style, thereby proscribing the very19
L'AMOUR FOUresources on which Breton depended, was to make ofhimself a kind of roadblock in the direction along whichsurrealism was moving. Naville's struggle with Breton isacted out in the masthead of La Revolution surrealiste,which is issued at its beginning from its rue de Grenelleheadquarters, dubbed the "Centrale," its editors listedas Naville and Peret, then is wrested from them in thethird issue by Breton and moved to the rue Fontaine,only to return for one number to the Centrale, until it isdefinitively taken back home by Breton to the rueFontaine. Many things were at issue in this struggle, butone of them was painting. For by the middle of 1925Breton had allowed the possibility of "Surrealism andPainting," in the text he produced by that name. At firsthe thought of it in terms of "found" surrealists, like deChirico or Picasso. But by March 1926 his secondinstallment of this essay was bent on constructingprecisely what "everyone knows" there is none of: apictorial movement, a stylistic phenomenon, a surrealistpainting to go into the newly organized Galerie Surrealiste.In going about formulating this thing, this style, Bretonresorted to his very own privileging of visuality, when inthe first Manifesto he had located his own invention ofpsychic automatism within the experience of hypnogogicimages-that is, of half-waking, half-dreaming visualexperience. For it was out of the priority that he wantedto give to this sensory mode-the very medium of dreamexperience-that he thought he could institute a pictorialstyle."Surrealism and Painting" thus begins with a declaration of the absolute value of vision above the othersenses." Rejecting symbolism's notion that art shouldaspire to the condition of music, Breton rejoins that"visual images attain what music never can," and headds, no doubt for the benefit of twentieth-centuryproponents of abstraction, "so may night continue todescend upon the orchestra." Breton had opened byextolling vision in terms of its absolute immediacy, itsresistance to the alienating powers of thought. "The eyeexists in its savage state," he had begun. "The marvelsof the earth . have as their sale witness the wild eyethat traces all its colors back to the rainbow." Vision,defined as primitive or natural, is good; it is reason,calculating, premeditated, controlling, that is bad.No sooner, however, is the immediacy of vision established as the grounds for an aesthetic, than it is overthrown by something else, something normally thoughtto be its opposite: writing. Psychic automatism is itselfa written form, a "scribbling on paper," a textualproduction. Describing the automatic drawings of AndreMasson-the painter whose "chemistry of the intellect"Breton was most drawn to-Breton presents them, too,as a kind of writing, as essentially cursive, scriptorial,the result of "this hand, enamoured of its own movementand of that alone." "Indeed," he adds, "the essentialdiscovery of surrealism is that, without preconceivedintention, the pen that flows in order to write and thepencil that runs in order to draw spin an infinitelyprecious substance," So preferable is this substance, inBreton's eyes, to the fundamentally visual product of thedream, that Breton ends by giving way to a distaste forthe "other road available to Surrealism," namely, "thestablizing of dream images in the kind of still-life deceptionknown as trompe l'oeil (and the very word 'deception'betrays the weakness of the process)."Now this distinction between writing and vision is oneof the many antinomies that Breton speaks of wantingsurrealism to dissolve in the higher synthesis of asurreaJity that Will, in this case, "resolve the dualism ofperception and representation."l5 It is an old oppositionwithin Western culture and one that does not simply holdthese two modalities to be contrasting forms of experience, but places one higher than the other. 16 Perceptionis better-truer-because it is immediate to experience,while representation must always remain suspect because it is never anything but a copy, a re-creation inanother form, a set of signs for experience. Because ofits distance from the real, representation can thus besuspected of fraud.In preferring the products of a cursive automatism tothose of dream imagery, Breton appears to be reversingthe classical preference of vision to writing. For inBreton's definition, it is the pictorial image that is suspect,a "deception," while the cursive one is true. ' ?Yet this reversal only appears to overthrow the traditional Platonic dislike of representation. In fact, becausethe visual imagery Breton suspects is a picture, and thusthe representation of a dream rather than the dreamitself, Breton here continues Western culture's fear ofrepresentation as an invitation to deceit. And the truthof the cursive flow of automatist writing or drawingderives precisely from the fact that this activity is lessa representation of something than it is a manifestationor recording; like the lines traced on paper by machinesthat monitor heartbeats. What this cursive web makespresent by making visible is a direct connection to buriedmines of experience. "Automatism," Breton declares,"leads us in a straight line to this region," and the regionhe had in mind is obviously the unconscious 18 With this20
L'AMoUR FOUdirectness, automatism makes the unconscious present.impossible to keep. The very same diversity, so troublingAutomatism may be writing, but it is not representation.to the art historian or critic who tries to think coherenceIt is immediate to experience, untainted by the distanceinto the contradictory condition of surrealist pictorialand exteriority of signs.production, repeats itself within the corpus of the phoBut this commitment to automatism and writing as atographs, The range of stylistic options taken by thespecial modality of presence, and a consequent dislikephotographers is enormous. There are "straight" images,of representation as a cheat, is not consistent in Breton.sharply focused and in close-up, which vary from theAs we will see, Breton expressed a great enthusiasm forcontemporaneous production of Neue Sachlichkeit orsigns-and thus for representation-since representaBauhaus photography only in the peculiarity of theirtion is the very core of his definition of Convulsive Beauty,subjects-like Boiffard's untitled photographs of big toesand Convulsive Beauty is an(figs. 143, 144), or Dora Maar'sother term for the Marvelous:Ubu (1936), or Man Ray's handsthe great talismanic concept(fig. 11), or Mesens' As Weat the heart of surrealism itUnderstand It (Comme no usself.l'entendons . . ; fig. 15)-butOn the level of theory, thesesometimes, as in the imagescontradictions about theBrassar made for L 'Amour fou,priorities of vision and repnot even in that (fig. 163).resentation, presence and sign,There are photographs thatperform what the contradicare not "straight" but are thetion between the two poles ofresult of combination printing,surrealist art manifests on thea darkroom maneuver thatlevel of form. For the problemproduces the irrational spaceof how to forge some kind ofof what could be taken to bestylistically coherent entity outthe image of dreams, Some ofof the apparent opposition bethese retain the crispness andtween the abstract liquefacdefinition of any contempotion of Mira's art, on the onerary Magritte or Dali; others,hand, and the dry realism ofparticularly those by Ubac (fig.Magritte or Dali, on the other,66), begin to slide into thehas continued to plague everyfluid, melting condition thatwriter-beginning with Brewe associate more with theton himself-who has set outpictorial terms elaborated byto define surrealist art.'9 AuMasson and Mir6. And theretomatism and dream may seemwereof course techniques asFig. 15. E. L. T. Mesens, As We Understand Itcoherent as parallel functions(Camme ils I'entendonsj, 1926. Private coliection.SOCiated directly with autoof unconscious activity, butmatist procedures and thegive rise to image types that seem irreconcilably diverse.courting of chance. Thus Ubac speaks of releasingI It is within this confusion over the nature of surrealistphotography from the "rationalist arrogance" that pow( art that the present investigation of surrealist photogered its discovery and identifying it with "the poeticraphy should be placed. For to begin that investigationmovement of liberation" through "a process identicalwith the claim that surrealist photography is the greatwith that of automatism."2o Ubac's briliages (fig. 62),unknown, undervalued aspect of surrealist practice, butphotographs in which the image is modified by meltingthat nonetheless, it is the great production of thethe negative emulsion before printing, are thought to bemovement, is undoubtedly to write a kind of promissoryone example of this;21 Man Ray's rayographs-cameralessnote, Might not this work be the very key to the dilemma"photograms" produced by placing objects directly onof surrealist style, the catalyst for the solution, thephotographic paper, which is then exposed to light-canmagnet that attracts and thereby organizes the particlesbe seen as another (fig. 41). As Man Ray himself said,in the field?by "recalling the event more or less clearly, like theOn the surface of things, this would seem a promiseundisturbed ashes of an object consumed by flames," the24
PHOTOGRAPHY IN THE SERVICE OF SURREALISMlingncerialIhothe heing,;hat,aceI bee ofandIPO-ers,(fig.the,hattheI bylereasltothe,ingoweticical32) ,ting) belessoncanaid,thethephotograph of the Krupp works or GEe yields almostnothing about these institutions . Therefore somethinghas actively to be constructed, something artificial,something set-up."24 Throughout the avant-garde of the1920s and 1930s that something, that constructed photograph, was the photomontage, about which it could beclaimed that it "expresses not simply the fact which itshows, but also the social tendency expressed by thefact."25 And this notion of the montage's insistence uponmeaning, on a sense of reality bearing its own interpretation, was articulated by Aragon's reception of the workof the revolutionary artist JohnHeartfield: "As he was playingwith the fire of appearance,reality took fire aroundhim. , . The scraps of photographs that he formerlymanoeuvred for the pleasureof stupefaction, under his fingers begin to signify." Thepossibility or-signification thatAragon saw in Heartfield seemsto have been understood as afunction of the agglomerative,constructed medium of photocollage. Referring in anothercontext to the separate collageelements of Ernst's montages.Aragon compared them to"words. "26In what sense, we mightAutomatic Writing.ask, could the very act ofThere is, however, one imcollage/montage be thought ofportant factor that must beas textual-as it seems toFig. 16. E. L. T. Mesens. As They Understand Itadded to any consideration ofhave been so thought by these(Camme nOllS J'entendons) , 1926. Private collection.Breton's Automatic Writingwriters? And is this a logicbefore concluding that its contradictions are irreconcilthat can resolve what is contradictory in L'Ecritureable. It is a factor that allows one to think, as Bretonautomatique?seems to have been doing here, about the relationshipbetween photography and writing. Normally we considerObjects metamorphosed before my very eyes; they didwriting as absolutely banned from the photographic field,not assume an allegorical stance or the personality ofexiled by the very nature of the image-the "ruessagesymbols; they seemed less the outgrowths of an idea thanwithout a code"-to an external location where languagethe idea itself.-Louis Aragon27functions as the necessary interpreter of the mutenessof the photographic sign.23 This place is the caption, thevery necessity of which produced the despair that Brecht,If these works were able to "signify," to articulate realityfor example, felt about photography. Walter Benjaminthrough a kind of language, this was a function of theCites this hostility to the "straight" photograph when hecellular structure that montage exploits, with its emphaticquotes Brecht's objection to the camera image: "Agaps between one shard of reality and another, gaps thatrayographs seemed like those precipitates from theunconscious on which automatist poetic practice wasfounded 22 The technical diversity of photographic surrealism does not end here. We must add solarization,negative printing, cliche verre, multiple exposure, photomontage, and photo collage, noting that within each ofthese technical categories there is the possibility of thesame stylistic bifurcation (linear/painterly or representationaVabstract) that surrealist painting exhibits.Nowhere does this internal contradiction seem moreimmediately available than inthe photo collage that AndreBreton made as a self-portrait, a work called L 'Ecritureautomatique (fig. 3). For herein a single work is enshrinedthe very splii for which thesestylistic terms are the surrogates: vision/writing. Bretonportrays himself with a microscope, an optical instrument invented to expand normal eyesight, to extend itspowers in ways not unlikethose associated with thecamera itself. He is shown,that is to say, as the surrealistseer, armed witb ,vision. Butthis condition of vision produces images, and these images are understood as a textual product, hence the title25
L'AMOUR FOUFig. 17. Salvador Dali, The Phenomenon of Ecstasy (Le Phenomene de rextase) , 1933. Manoukian ColiecLion, Paris.26
PHOTOGRAPHY IN THE SERVICE OF SURREALISMFig. 18. Georges Hugnet. Untitled: c. 1947. Manoukian Collection. Paris.27
L'AMOUR FOUin the montages from the early 1920s by the dadaistsHannah Hiich or Raoul Hausmann left rivers of whitepaper to flow around the individual photographic units.For this cell construction mimics not the look of wordsbut the formal preconditions of signs: the fact that theyrequire a fundamental exteriority between one another.In language this exteriority manifests itself as syntax,and syntax in turn is both a system of connection betweenthe elements of a language, and a system of separation,of maintaining the difference between one sign and thenext, of creating meaning through the syntactical condition of spacing.By leaving the blanks or gaps or spaces of the pageto show, dada montage traded in the powerful resourceof photographic realism for the quality that we could callthe "language effect." Normally, photography is as faras possible from creating such an effect. For photography,with its technical basis in an instantaneous recording ofan event, captures what we could call the simultaneityof real space, the fact that space does not present itselfto us as successive in nature, like time, but as purepresence, present-all-at-once. By carrying on its continuous surface the trace or imprint of all that visioncaptures in one glance, photography normally functionsas a kind of declaration of the seamlessness of realityitself. It is this seamlessness that dada photo collagedisrupts in an attempt to infiltrate reality with interpretation, with signification, with the very writing to whichBreton refers in his own collage: ecriture automatique.It is this seamlessness of the photographic field that isfractured and segmented in Dali's extraordinary collageFor these techniques could preserve the seamless surfaceof the final print and thus reenforce the sense that thisimage, being a photograph, documents the reality fromwhich it is a transfer. But, at the same time, this image,internally riven by the effects of syntax-of spacingwould imply nonetheless that it is reality that hascomposed itself as a sign.To convulse reality from within, to demonstrate it asfractured by spacing, became the collective result of allthat vast range of techniques to which surrealist photographers resorted and which they understood as producing the characteristics of the sign. For example,solarization-in which photographic paper is brieflyexposed to light during the printing process, therebyaltering in varying degrees the relationship of dark andlight tones, introducing elements of the photographicnegtative into the positive print-creates a strange effectof cloisonne, which visually walls off parts of a singlespace or a whole body from one another, establishing inthis way a kind of testimony to a cloven reality. Negativeprinting, which produces an entirely negative print. withthe momentarily unintelligible gaps that it creates withinobjects, promotes the same effect. But nothing createsthis sense of the linguistic hold on the real more thanthe photographic strategy of doubling. For it is doublingthat produces the formal rhythm of spacing-the twostep that banishes simultaneity. And it is doubling thatelicits the notion that to an original has been added itscopy. The double is the simulacrum. the second. therepresentative of the original. It comes after the first,and in this following it can only exist as figure, or image.But in being seen in conjunction with the original, thedouble destroys the pure singularity of the first. Throughduplication, it opens the original to the effect of difference,of deferral, of one-thing-after-another.This sense of opening reality to deferral is one formof spacing. But doubling does something else besidestransmute presence into succession. It also marks thefirst in the chain as a signifying element-which is tosay, doubling transforms raw matter into the conventionalshape of the signifier. Linguistics describes this effect ofdoubling in terms of an infant's progress from babblingto speech. For babbling produces phonemic elements asmere noise as opposed to what happens when onephoneme is doubled by another. Papa is a word ratherthan only a random repetition of the sound pa because"The reduplication indicates intent on the part of thespeaker; it endows the second syllable with a functiondifferent from that which would have been performed bythe first separately, or in the form of a potentiallylimitless series of identical sounds /papapapai producedThe Phenomenon of Ecstasy ( e Phenomene de i'extase;fig. 17) as well, and with the similar production of thelanguage effect. For, within the grid that organizes theecstatic images of women, we find the inclusion of stripsof different ears, taken from the catalogue of anatomicalparts assembled by master police chief Alphonse Bertillonthat stands as the nineteenth-century criminologicalattempt to use photography to construct the "portraitpar/ant," or speaking likeness, witness to the last century's expectation that, like other "mediums," photography could wrest a message from the muteness ofmaterial reality.If photo collage
Corcoran Gallery of Art, Sept.-Nov., 1985. Bibliography: p Includes index. Contents: Preface/Rosalind Krauss and Jane Livingston Photography in the service of surrealism! Rosalind Krauss-Man Ray and surrealist photography! Jane Livingston-[ete.] 1. Photography, Artistic-Exhibitions. 2. Surrealism Exhibitions. !. Livingston, Jane. II.
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