Peter Galassi
[Curator and writer, b. 1951, Washington, D.C., lives in New York.]

 Alone, the Surrealist wanders the streets without destination but with a premeditated alertness for the unexpected detail that will release a marvelous and compelling reality just beneath the banal surface of ordinary experience. His every act is calculated to disrupt the conventional pattern of life, to invite irrational obsession. 

Imogen Cunningham
[Photographer, b. 1883, Portland, d. 1976, San Francisco.]

 The imaginative photographer is always dreaming and trying to record his dream. 

Salvador Dali (Salvador Felipe Jacinto Dalí Domènech, Marquis of Pubol)
[Artist, b. 1904, Figueres, Catalonia, Spain, d. 1989, Figueres, Spain.]

 Photographic fantasy: more agile and faster in discoveries than murky subconscious processes! 

Rosalind Krauss
[Writer, critic, and historian, b. 1941, Washington, D.C., lives in New York.]

 Within surrealist practice, too, woman was in construction, for she is the obsessional object there as well. And since the vehicle through which she is figured is itself manifestly constructed, woman and photograph become figures for each other’s condition: ambivalent, blurred, indistinct, and lacking in, to use Edward Weston’s word, “authority.” 

André Kertész
[Photographer, b. 1894, Budapest, Hungary, d. 1985, New York.]

 I am not a surrealist. I am only a realist. All this group—surrealists—use my name. No, no, I am realist. 

Man Ray (Emanuel Radnitsky)
[Artist, b. 1890, Philadelphia, Pennsylvania, d. 1976, Paris.]

 I do not photograph nature. I photograph my fantasy. 

Ralph Eugene Meatyard
[Photographer, b. 1925, Normal, Illinois, d. 1972, Lexington, Kentucky.]

 I work in several different groups of pictures which act on and with each other—ranging from several abstracted manners to a form for the surreal. I have been called a preacher—but, in reality, I’m more generally philosophical. I have never made an abstracted photograph without content. An educated background in Zen influences all of my photographs. It has been said that my work resembles, more closely than any photographer, “Le Douanier” Rousseau—working in a fairly isolated area and feeding mostly on myself—I feel that I am a “primitive photographer.” 

Rosalind Krauss
[Writer, critic, and historian, b. 1941, Washington, D.C., lives in New York.]

 Surrealist photography does not admit of the natural, as opposed to the cultural or made. And so all of what it looks at is seen as if already, and always, constructed, through a strange transposition of this thing into a different register. We see the object by means of an act of displacement, defined through a gesture of substitution. 
quotes 41-48 of 52
first page previous page page 6 of 7 next page last page
display quotes