{"id":1303,"date":"2009-01-24T18:10:33","date_gmt":"2009-01-24T18:10:33","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=1303"},"modified":"2009-01-24T18:10:33","modified_gmt":"2009-01-24T18:10:33","slug":"surrealism-and-photography-in-england","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/surrealism-and-photography-in-england\/","title":{"rendered":"Surrealism and photography in England"},"content":{"rendered":"

\"The
Wig Stall, Petticoat Lane – Nigel Henderson, 1952 \u00a9 The Henderson Estate <\/span><\/div>\n

\u00a0<\/p>\n

The exchange between Surrealism and photography is usually understood in terms of such formal innovations as solarisation, the rayograph, or photomontage. But Ian Walker’s <\/em>So Exotic, So Homemade makes the case instead for the importance of documentary photography to the Surrealist movement in England. <\/p>\n

<\/em><\/p>\n

Given the historical span of his survey it is not surprising that Walker acknowledges at the outset the fluidity and instability of the three terms that structure his account – Englishness, Surrealism and Documentary – and he advises that they are only loosely defined, functioning as \u201csuggestive possibilities\u201d rather than \u201cabsolute categories\u201d. \u201cDocumentary\u201d, for example, is understood to include landscape pictures and family snapshots – unburdened by explicit social content or reformist intent. \u201cEnglishness\u201d is, where appropriate, understood in relation to a culturally defined sense of space, be it \u201cDeep England\u201d of the rural south, the industrial north, or the metropolis, London. And Surrealism, arriving belatedly in England in 1936 – after groups had already formed in France, Belgium, Catalonia, Rumania, the Canary Islands, Czechoslovakia and Egypt \u2013 is considered here mainly free of the militant programmatic commitments that had animated earlier manifestations elsewhere. As Walker states, this is not a study of English Surrealist photography, but an examination of the shifting historical relationships between them. <\/p>\n

Walker\u2019s work builds on ground prepared by his earlier volume, City Gorged with Dreams, which explored similar concerns (Englishness excepted) in interwar Paris. Both \u201cSo Exotic\u201d and its predecessor stand as a rejoinder to those who have promoted the formal innovations of the rayograph, solarisation and photomontage at the expense of the Surrealist mobilisation of documentary photography. \u201cIt seemed to me\u201d, he writes, \u201cthat there was a glaring discrepancy in the way that Surrealist photography had been discussed\u2026in that the photographic document and its cousin documentary photography had been left out of the picture.\u201d The paradox Walker unpicks is that photographic realism, could be used to describe the surreal. The ordinary could be made to yield the extraordinary, or as Mass Observers Charles Madge and Tom Harrison put it, \u201cthe drab and sordid features of industrial life will take on a new interest\u201d. <\/p>\n

Towards the end of the book, Walker indicates that his account is both \u201cpartial\u201d and \u201cfragmentary\u201d – \u201cthe elements here cannot be forced into a unity\u201d. This is an acknowledgement again of the mutability of the categories and relationships he is charting – nowhere more apparent than in the photography of contemporaries Paul Nash and Humphrey Jennings. In the case of  Nash for example \u2013 described once as a \u201cdubious guest at the surrealist party\u201d – Walker is able to demonstrate how his photographs can be read as expressive of mystical, insular and Neo-Romantic interests, and yet still be compatible with a materialist, international and Surrealist outlook. The case is made by reference to Nash\u2019s \u201cMonster Field\u201d pictures of uprooted elm trees (photographed in Gloucestershire towards the end of the 1930\u2019s) which function as objets trouves in a \u201csort of no man\u2019s land\u201d that Walker compares to the (determinedly urban) terrain vague favoured by the Parisian Surrealists. <\/p>\n

By contrast, Humphrey Jennings\u2019 reading of Surrealism resulted in a photography (as far as we can tell, from the little that remains) that explicitly favoured the man-made, the urban and the everyday over content suspected of harbouring Romantic affiliations. In a review of Herbert Read\u2019s volume \u201cSurrealism\u201d he wrote: \u201cTo the real poet the front of the Bank of England may be as excellent a site for the appearance of poetry as the depths of the sea [\u2026] to settle surrealism down as Romanticism is [\u2026] to look for ghosts only on battlements.\u201d Jennings sought his ghosts in Bolton on a rainy day, in nondescript cul-de-sacs and on graffittied walls. Again in contrast to Nash, his was a practice that was resolutely group-based and committed to the exploration, not of the individual psyche, but of the \u201ccollective unconscious\u201d. <\/p>\n

There is much else besides. \u201cSo Exotic\u201d divides between thoughtful and subtle individual case studies \u2013 of the work of Paul Nash, Eileen Agar, and Roland Penrose with Lee Miller \u2013 and more general, equally convincing, essays on the relationships that inflected Surrealist representations of the north and the Blitz. Walker\u2019s analyses are perceptive and considered; and the case he puts forward for the importance of documentary to Surrealism, and vice versa, is cogently made. A final chapter recapitulates the marginalised trajectory of Surrealism during the \u201dpost-war period\u201d with reference to the work of Nigel Henderson, Tony Ray Jones, Martin Parr and Susan Hiller, amongst others.<\/p>\n

Published by Manchester University Press<\/p>\n

hb 9780719073403<\/p>\n

\u00a350.00
288pp<\/p>\n

This is an edited version of a review that first appeared in The Art Book magazine.<\/p>\n","protected":false},"excerpt":{"rendered":"

Guy Lane reviews an account that ranges from the interwar work of Paul Nash and Humphrey Jennings to the photographs of Martin Parr and Susan Hiller in which Walker charts the use of the ordinariness of the photographic document to evoke the extraordinariness of the surreal.<\/p>\n

\n","protected":false},"author":1,"featured_media":1302,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[19],"tags":[],"jetpack_publicize_connections":[],"yoast_head":"\nSurrealism and photography in England - FOTO8<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.foto8.com\/live\/surrealism-and-photography-in-england\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Surrealism and photography in England - 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