Between Reality and Dream: Surrealist Photography

Agnieszka Taborska

Abstract

The Surrealists rarely reflected on photography but it was one of the most popular, hot and timeless means of expression. Although many Surrealists practised photography as a sideline and regarded it as fun rather than art, Surrealist photography cannot be overestimated. Using the examples of the photos of Man Ray, Jacques-André Boiffard, Dora Maar, Claude Cahun or Brassai, Taborska tries to classify various forms and aspects of the art. She also tries to define what makes a given photo „surrealist”. After David Bate, Taborska divides Surrealist photography into three categories: the mimetic, the pro-photo­graphic and the enigmatic. The first, most conventional type of photography records reality. The second one denotes the photography that records reality staged for a picture. In this case, the photographed object is surrealist while the impression created by the photo results solely from the nature of the object. In the enigmatic mode of ’Surrealist’ photography that resists easy interpretation, the photographer uses darkroom techniques (solarisation, rayograms, double exposure) and procedures such as collage. Taborska tries to touch on the phenomenon of the unique humour of the Surrealists and their extremely ironic ideology. Although it is close to the revolutionary and perverse aura of Surrealism, its reflections always fit the discourse of art, in the broad sense of the word.