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GHOSTS OF THE EXPERIMENTAL, DADA & SURREALIST Candice Black In the photographic process, the Surrealists recognised an alchemical metamorphosis of shadow and light, of the real and the imaginary; in this respect they saw the photograph not as a fixed document, but more as a point of departure towards a heightened form of truth, the very sur-reality they sought after. The lens of the camera was a third eye attuned to unconscious meaning, a “mirror of the marvellous” that could even be penetrated by those prepared to enter the labyrinth, while the photograph was an index of signs that could be modified, simultaneously recording everyday reality and exposing new possibilities or meanings beneath its surface. Finally, the legacy of Surrealist photography remains just as strong – if not stronger – than that of Surrealist painting, and, as a truly automatic visual codex of memory and desire, may well be the nearest corollary to Surrealist thought that survives. GHOSTS OF THE BLACK CHAMBER contains over 200 photographs, including many images not found in any other study, as well as profiles of over 50 well-known artists, including Dali, Bellmer, Breton, Ernst, Magritte, and Man Ray. Images include both Dada and Surrealist photography as well as examples from other movements such as Futurism and Vorticism. SOLAR ART DIRECTIVES
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