as host had a good tech to invite them
in completely separate times
to the exhibition to lecture so in fact
they never were in London at the same
moment
the but course the preservation at the
idea for the
group identity to surrealism a wields
photo montage in the service love
bringing Britt ol
in when he actually wasn't there when
you know this is sorta
you can see that this Caleb his hid
doesn't quite fit a the rank and file
their
these along with but just the fact that
up
they would attempt to a manipulate
history or fabricate history in this way
I think
indirectly indicates the significance of
these kind of group photograph
amongst the group as as a token of their
joint
activities so in Paris in 38
the tempted to add do the London
surrealist exhibition
in many ways but one way was not in
terms of group exhibition portrait
the most dramatic the cover is this
up suppose that photographic kinda
frankenstein
automaton a very famous
opening with many performative aspects
and the surrealist group themselves
tried to perform one such with Helen
danell
the dancer who was promised in these
this program including connecting
hysteria
in this case they've five or six the
artists have submitted
to enacting kinda be which means by
Hellen van now
including man-made Ali from behind
award again are not entirely convincing
factors can absolutely corny
photograph from our point of view on the
other hand it's staged in manipulating
photography which makes the kind of
interesting
and again to shop is not present or easy
up because in fact it is called brazier
and call sex on the ceiling
that form the setting our environment
for this kinda macbeth like
conjuring here a number these kinds of
photos were taken
a for the preview the exhibition summer
them appeared
in the press at the time as far as I can
tell don't think this one was
published at the moment that in any way
was its intention
Duchamp was up
famously said to be absent from openings
in such kinds of events
in fact the only view we have him is
very shadow we won
at the 38 surrealist exhibition a press
photo
somebody who snuck up on him from behind
I
we see just is a head-and-shoulders
they're talking to other
individuals but we do see his ambassador
the
Rothesay lovey mannequin who in fact
became the main presents the main dish
champion present throughout the course
to the exhibition in her one and only
three-dimensional appearance during her
lifetime
sides her authoring works in publishing
poems and so on full-body
flesh-and-blood
in fact she was subject to much more
salacious
gays than Marcel ever would have been
especially
buyer out who back here goes right for
the crotch as they would say
a which does give us the interesting
document though
that the mannequin is sin eros say love
the
grade above the pubic area there core
she's dressed in
Duchamp's best jacket I hate
and shoes are missing the pants
presumably he wanted to get out the
gallery
indecent condition but it's the only
cross dress mannequin a course that the
show
and I've argued that mean raise
seemingly more
demure photograph in fact makes the same
point
as who backs because it focuses on the
street sign rule ever
and lever references both the lips
the female mouse and and the vagina new
drink after saying that word
I'm with a straight face
I am a young surreal young photographer
photojournalist called denise bell on
became one of the main document or serve
the 38 surrealist exhibition
and it was kinda breakthrough for her on
the summer of 1937 she had already
made extensive photographs at the
International Exhibition
the Paris World's Fair and then that
winter
a became photographed early extensively
in this release show especially during
the setup of the installation
and looking over akashi made many
better-known classic documentary shots
the bids
the the coal sector room in the
mannequins in the show
but I recently realize that she also
was pursuing a kind of portraiture both
the
main participants of the exhibition and
photograph quite a few of them
on the left Europe although our next 21
salesman's manikin on the right george
junior a
whose furniture shop was crucial in the
preparations for this exhibition who's
in fact
furnishing a kind manikin table object
for the show
or in fact he's playing double play with
hand he really kind israel's fashion
and letting his way for partner do the
do the sewing on these are both bill on
Porter its
a maybe the best are those by up
bill on and Ali in a sense to leave
kinda collaborator here
quite reminds me of what was said
earlier about the theatrical zation
love the portrait caused all these
practically an actor
young and handsome here and playing with
manipulating
the elements fears mannequin that would
be
in the really taxi outside once the
exhibition
opened a
bill also photographed Maurice on on re
Mr so John among her portrait at this
time but no Marcel Duchamp
I however she did follow Duchamp to
studio
read the same moment to try to add to
her set
and I think these are fairly
little-known portrait of him at the at
time at the International surrealist
exhibition and after looking at the
dollys I find that
to shoppers quite a diffident purchase
have been here not very
anxious to be photographed yeah he does
a rather reluctantly
resolutely demonstrate the door rule re:
which of course was both open and closed
at the same time
and perhaps more significantly
manipulates a rock
on the chessboard wall chessboard have
his own
devising interesting early document I
think
of the a misleading imager the mythology
the grew up after world war two the to
shop had given up art
for chess Duchamp's arrival in June
9042 galvanize the surrealist group in
New York
for this installation which we've just
heard the
a kind of scientific of life a looking
at
a and also became the setting for to
portray its
by very young photographer that I want
to turn to now
Arnold Newman who at the time worth
considering
was only 24 years old and just barely
into for years career but a year into
his project more so was 55
by the way a into Newman into his
project
photographing artists in their
millionaire and Newman's
has discussed in published fairly
extensively
his idea of the photograph not as a
snapshot but as a setup
something that's very deeply and
manipulated which
the elements that appear with the person
are meant to have a symbolic value
answered
elaborate on the I cannot for fear their
persona
the series begins and I think it's worth
keep in context before I speak more
about these
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