For the interwar avant-gardes, photography was attractive because of its radically uncertain status. It could be art, documentation, research, science, expression, provocation, or enigma. Moreover, photography seemed to belong anywhere—on the pages of magazines and books, on the walls of exhibitions, and in the world of professionals and amateurs. In this lecture, presented in conjunction with the Menil’s exhibition Photography and the Surreal Imagination, David Campany considers the ways in which Surrealist artists effectively exploited these ambiguities of the medium.
About the speaker:
David Campany is a curator and writer, currently based in London and New York. Recent curatorial projects include Alex Majoli: SCENE (Le Bal, Paris, 2019); The Still Point of the Turning World: Between Film and Photography (FOMU, Antwerp, 2017); and The Open Road: Photography and the American Road Trip (various venues, USA, 2016–18). His many books include On Photographs (October, 2020), So Present, So Invisible – Conversations on Photography (2018), A Handful of Dust (2015), The Open Road: Photography and the American Road Trip (2014), Gasoline (2013), Jeff Wall: Picture for Women (2010), and Art and Photography (2003). He is the recipient of an ICP Infinity Award, the Kraszna-Krausz Book Award, the Alice Award, a Deutscher Fotobuchpreis, and the Royal Photographic Society Award.
This program is free and open to the public. Seating is available on a first-come first-served basis. Further information regarding accessibility and parking can be found here.