SECTION 2: Dada and surrealist collage.
SECTION 3: Dada and surrealist photography and erotic desire.
SECTION 4: 1980s and 1990s staged photography.
SECTION 5: Fantastic photography.
SECTION 6: Surveys of fantastic painting and illustration.
SECTION 7: Other books, and scholarly books mentioned in the timeline.
SECTION 1: Victorian combination and photomontage photography: Bajac, Quentin (1999). Tableaux vivants: Fantaisies photographiques victoriennes (1840-1880). Paris: Réunion des Musées Nationaux. Bill Jay (date?).
"The Curious Case of the Combination Print".
Online at: http://www.billjayonphotography.com/The%20Curious%20Case.pdfCheroux, Clement & Eskildsen, Ute (Eds) (2008). The Stamp of Fantasy: The Visual Inventiveness of Photographic Postcards
. Germany: Steidl Verlag.
Harker, Margaret F. (1988). Henry Peach Robinson. Master of photographic art 1830-1901
. Oxford: Blackwell.
Ouellette, William (1975). Fantasy Postcards. New York: Doubleday Books.
Yoxall Jones, Edgar (1973). Father of Art Photography: O.G. Rejlander, 1813-75. London: David & Charles.
SECTION 2: Dada and surrealist collage: Ades, Dawn (1985). Photomontage (World of Art)
. London: Thames and Hudson.
Spies, Werner (1991). Max Ernst Collages: The Invention of the Surrealist Universe
. New York: Harry N. Abrams.
In French: "Max Ernst: Les collages, inventaire et contradictions". Paris.Adamowicz, Elza (2005). Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse (Cambridge Studies in French)
. Cambridge: Cambridge University Press.
Orban, Clara Elizabeth (1997). Culture of Fragments: Words and Images in Futurism and Surrealism (Textxet Studies in Comparative Literature)
. Netherlands: Rodopi B.V.Editions.
Charlotte Stokes (1987)."Surrealist as Religious Visionary: Max Ernst's Reve D'Une Petite Fille Qui Voulut Entrer Au Carmel (1930).
IN: The Fantastic in World Literature and the Arts: Selected Essays from the 5th International Conference on the Fantastic in the Arts (Contributions to the Study of Science Fiction & Fantasy)
.
An analysis probably based on the English tranlation of the Ernst's college novel, 1982 by Dorothea Tanning?Perloff, Marjorie (1986).
"The Invention of Collage".
IN: The Futurist Moment: Avant-Garde, Avant-Guerre, and the Language of Rupture
. Chicago: University of Chicago Press.
Teitelbaum, Matthew (1992). Montage and Modern Life, 1919-42
. Cambridge MA: The MIT Press.
Major catalogue of an exhibition at the Institute of Contemporary Art in Boston, 1992.Taylor, Brandon (2005). Collage: The Making of Modern Art
. London: Thames & Hudson.
Has a detailed account of decades of collage making in Prague.
SECTION 3: Dada and surrealist photography and erotic desires Bate, David (2003). Photography and Surrealism: Sexuality, Colonialism and Social Dissent. New York: I.B. Tauris & Co.
Tries to explain the rationale behind Surrealist attitudes in Freudian/Lacanian terms.Buck, Lousia (1989). The Surrealist Spirit in Britain. London: Whitford and Hughes. Caws, Mary Ann (1999). The Surrealist Look: An Erotics of Encounter. Cambridge MA: The MIT Press.
Examines Surrealism's links to Baroque.Conley, Katharine (2008). Automatic Woman: The Representation of Women in Surrealism
. Nebraska: University of Nebraska Press.
Foster, D.W. (2003)"Dreaming in Feminine: Grete Stern's Photomontages and the Parody of Psychoanalysis"
CiberLetras, December 2003 (Vol 3, No.10). Frizot, Michel (1991). Photomontage: Experimental Photography Between the Wars. London: Thames & Hudson. Krauss, Rosalind E. (1983). The Optical Unconscious (October Books)
. Cambridge MA: The MIT Press.
Radical text that examines the "unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s" ... and modernist artists who offered "obsessional fantasy".Krauss, Rosalind E. (1983). The Originality of the Avant-Garde and Other Modernist Myths. Cambridge MA: The MIT Press.
Contains the Krauss essay: "Photographic Conditions of Surrealism".Krauss, Rosalind E.; Livingston, Jane; Ades, Dawn (1985). Amour Fou: Photography and Surrealism. New York: Abbeville Press.
"L'Amour fou is the first book to study the crucial role photography did in fact play in the Surrealist movement"Levy, Silvano (1996). Surrealism: Surrealist Visuality. Keele: Keele University Press. Mahon, Alyce. Surrealism and the Politics of Eros: 1938-1968. London: Thames & Hudson.
Examines the French International Surrealist exhibitions from 1938 to 1965. Shows the influence of the French Communist Party and the Existentialists in preventing a post-war revival of 'anarchist' surrealism in Paris.Paenhuysen, An (2005).
"Surrealism in the Provinces. Flemish and Walloon identity in the Interwar Period".
Image & Narrative, November 2005.
Online at: http://www.imageandnarrative.be/surrealism/paenhuysen.htmRabinovitch, Celia (2002). Surrealism and the Sacred: Power, Eros and the Occult in Modern Art (Icon Editions)
. Boulder, Colorado: Westview.
Richardson, Michael (2006). Surrealism And Cinema. Oxford: Berg Publishers.
Roegiers, Patrick (2005). Magritte And Photography. D.A.P./Ludion.
"The sublime visions of Surrealist master Rene Magritte often began in a viewfinder".
SECTION 4: 1980s and 1990s staged photography: Brett, Andrea Rose (1991). Decomposition: Constructed photography in Britain. London: British Council.
(12-page exhibition booklet. Shows the work of ten photographers.)Hofstede, Poul Ter (1986). Fotografia Buffa: Staged photography in the Netherlands. Groningen: publisher unknown. Hoy, Anne H. (1987). Fabrications: Staged, altered, and appropriated photographs. New York: Abbeville Press. Lori, Pauli (2006). Acting the Part: A History of Staged Photography
. London: Merrell Publishers.
Czech + Slovak staged photography - a privately produced online exhibition.
Online at: http://www.czechslovakphotos.com/
SECTION 5: Fantastic photography: Cieslewicz, Roman (1979). Fantastic Photography in the U.S.A. Amsterdam: Canon Photo Gallery.
Exhibition catalogue.Coleman, A.D. (1977). The Grotesque in Photography : A First Collection of Photographers Whose Fantastic Visions of Life Are as Revolutionary as Those of Impressionists. New York: Summit, Ridge Press. Colombo, Attilio (1979). Fantastic Photographs. London: Gordon Fraser. Jimbo, Kyoko (2004).
“Toshiko Okanoue: Surrealism in Japan and the World of Collage”.
Presented at the conference: 'Terra Incognita: Surrealism, Psychoanalysis and Sexuality in the Pacific Region', cirac 2004 at the University of Melbourne. Marable, Darwin (1980). Surrealism and American Photography.
(Thesis presented at the University of New Mexico, Albunquerque, New Mexico)Naggar, Carole (1979). Fantastic Photography in Europe. Amsterdam: Canon Photo Gallery.
Exhibition catalogue.Stathatos, John (2001). A Vindication of Tlon: Photography and the Fantastic
. Greece: Thessaloniki Museum of Photography
Introductory essay is online at: http://www.stathatos.net/pages/vindication_of_tlon.htmlWayne, Cynthia (1991). Dreams, Lies, and Exaggerations: Photomontage in America. Maryland: University of Maryland Art Gallery.
Exhibition catalogue. From a Washington Post review: "a fascinating little show ... This 35-year history of photomontage in America - which reached our shores with refugees from the Bauhaus in the 1930s - may not be a matter of great art-historical moment, but this survey of its sources and subsequent impact on American photographers brings to light some wonderful material, including rarely seen early work by Harry Callahan, Will Connell and James Van Der Zee."
SECTION 6: Surveys of fantastic painting and illustration: Anderson, Kristen (2005). Pop Surrealism: The Rise of Underground Art
. San Francisco: Last Gasp.
No photography, only painting.beinArt collective (2007). Metamorphosis. San Francisco:: beinArt.
Contemporary. No photography.Christian, John, (1989). The Last Romantics: Romantic Tradition in British Art - Burne-Jones to Stanley Spencer
. London: Lund Humphries.
Comini, Alessandra (1978). The Fantastic Art of Vienna. New York: Ballantine Books.
Clair, Jean (1995). Lost Paradise: Symbolist Europe. Montreal: Montreal Museum of Fine Arts.
Day, Holliday T. & Sturges, Hollister (1989). Art of the Fantastic: Latin America, 1920-1987. Indianapolis: Indianapolis Museum of Art.
Johnson, Diana L. (1979). Fantastic Illustration and Design in Britain, 1850-1930. Rhode Island School of Design.
Book-length illustrated catalogue.Jordan, Matt Dukes (2005). Weirdo Deluxe
. San Francisco: Chronicle Books.
A survey of contemporary lowbrow, aka 'pop surrealism'.Klanten, R. Black Magic, White Noise
. Die Gestalten Verlag, 2007.
A survey of the strange in contemporary illustration and photography.Krichbaum, Jorg & Zondergeld. R.A. (Eds.) (1985). Dictionary of Fantastic Art (Pocket Art)
. Barron's Educational Series.
Menton, Seymour (1983). Magic Realism Rediscovered, 1918-1981. Philadelphia, The Art Alliance Press.
Palumbo, Donald (Ed.) (1986). Eros in the Mind's Eye: Sexuality and the Fantastic in Art and Film.
(Contributions to the Study of Science Fiction and Fantasy). Greenwood Press.
Scholarly survey essays that range from the 15th century to the 1980s. Vital short survey essays are "Sex in Surrealist Art" and "Surrealist Female Monsters".Summers, Claude J. (2004). The Queer Encyclopedia of the Visual Arts. Michigan: University of Michigan Press.
Online at: http://www.glbtq.com/Watney, Simon (1977). Fantastic Painters. London: Thames & Hudson.
SECTION 7: Other books, and scholarly books mentioned in the timeline: Adams, Rachel (2001). Sideshow U.S.A.: Freaks and the American Cultural Imagination. Chicago: University of Chicago Press. Beckman, Redrobe (2003). Vanishing Women: Magic, Film, and Feminism. Duke University Press Biro, Matthew (1994).
"The New Man as Cyborg: Figures of Technology in Weimar Visual Culture".
New German Critique, No. 62 (Spring - Summer, 1994), p. 71-110. Brooker, Will (2004). Alice's Adventures: Lewis Carroll in Popular Culture. London: Continuum. Butt, Gavin (2004). Between You and Me: Queer Disclosures in the New York Art World, 1948-1963. Duke University Press.
Touches on the revival of collage and photomontage in the context of underground gay subculture (Warhol, Hockney, Burroughs, Robert Smithson's collages, Kenneth Anger's later films, et al).Buchloh, Benjamin H. D.
“Atlas: Warburg’s Paragon? The End of Collage and Photomontage in Postwar Europe”
IN: Ingrid Schaffner, Matthias Winzen (eds.), Deep Storage: Collecting, Storing and Archiving in Art, p.50-60 Cavallaro, Dani (2002). The Gothic Vision: Three Centuries of Horror, Terror and Fear
. New York: Continuum.
Focussed on literature, but a useful overview with critical analysis and ideas about how historical ideologies inflect recurring themes of "physical and psychological disintegration, spectrality and monstrosity".Cheroux, Clement et al. (2005). The Perfect Medium: Photography and the Occult
. Yale: Yale University Press.
Beautifully illustrated essays on the history of spirit photography.Culver, Stuart (1988)
"What Mannikins Want: The Wonderful Wizard of Oz and The Art of Decorating Dry Goods Windows".
Representations, XXI, 1988, pp. 97-116 Davenport, Guy (1997). The The Geography of the Imagination: Forty Essays (Nonpareil Book, 78)
. New York: Picador.
Ehrlich, Susan (1996)."Pacific Dreams: Currents of Surrealism and Fantasy in California Art"
Performing Arts Journal, Vol. 18, No. 1 (Jan., 1996), pp. 72-80
Covers the period 1934-1957. See also: "Journey Into the Sun: California Artists and Surrealism" by Susan M Anderson.Halpern, Leslie (2001). Dreams on Film: The Cinematic Struggle Between Art and Science
. McFarland & Company.
One hundred examples of dream in cinema, with puzzled comparison of the disparity between the artistic visions and the then-prevailing 'scientific' Freudian dream theory.Hirsch, Robert & Valentino, John (1991). Photographic Possibilities: The Expressive Use of Ideas, Materials and Processes
. London: Focal Press.
On the modern revival of early photographic processes. Second, revised, edition was published in 2001.Hirsch, Robert (2003).
"Flexible Images: Handmade American Photography, 1969 – 2002".
The Society for Photographic Education’s 'Exposure' magazine, vol 36, No. 1, 2003; cover and pages 23–42.
Online at: http://www.lightresearch.net/articles/handmade.htmlJarrett, Derek (1988). The Sleep of Reason: Fantasy and Reality from the Victorian Age to the First World War. New York: Harper and Row. Katz, Jonathan D.
"The Silent Camp: Queer Resistance and the Rise of Pop Art".
Online at: http://queerculturalcenter.org/Pages/KatzPages/KatzCamp.htmlKatz, Jonathan D. (2006).
"Committing The Perfect Crime": Sexuality, Assemblage and the Postmodern Turn in American Art".
Paper presented at the 'Assemblage, Bricolage and the Obsolete' symposium, Henry Moore Instute, Leeds (2006).Kerman, Judith (2004).
"Drawing Lines in the Sand: The Fantastic Considered as an Instance of Liminality."
IN: Flashes of the Fantastic: Selected Essays from The War of the Worlds Centennial, Nineteenth International Conference on the Fantastic in the Arts. Westport, CT.: Praeger.
Useful discussion of attempts to define 'the fantastic', and the usefullness of 'liminality' as a way of understanding it.Mavor, Carol (1996). Pleasures Taken: Performances of Sexuality and Loss in Victorian Photographs
. New York: I.B. Tauris & Co.
McWilliam, Neil. (1993). Dreams of Happiness: Social Art and the French Left, 1830-1950. Princeton: Princeton University Press.
(Has an account of Charles Fourier’s impact on French art and politics)Monleon, Jose B. (1990). A Specter is Haunting Europe: Sociohistorical Approach to the Fantastic
. Princeton: Princeton University Press, 1990.
Examines the fantastic literary genre from a historical/ideological perspective. "The fantastic, Monleon argues, reflected social tensions and produced a cultural space in which to appropriate fears brought on by the revolutions - to tame the "specter" mentioned by Marx and Engels in The Communist Manifesto. At the same time the fantastic helped carve in Europe a defense of order through the introduction of unreason as a viable discourse."Neumaier, Diane. (Ed.) (2004) Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art. Rutgers University Press. Polish Photomontage Between The World Wars.
Online at: http://www.fotofo.sk/imago/16/polish.htm Has some information about right-wing nationalist use of photomontage.Peterson, Nadya L. (1997). Subversive Imaginations: Fantastic Prose and the End of Soviet Literature. New York: Westview Press. Punt, Micheal (2003).
"The elephant, the spaceship and the white cockatoo; an archaeology of digital photography".
IN: Lister, M (Ed.). Photography in the Age of Digital Culture. London: Routledge, 2003. pp. 51-77. Robson, Catherine (2001). Men in Wonderland: The Lost Girlhood of the Victorian Gentleman
. Princeton: Princeton University.
Spooner, Catherine (2004). Fashioning Gothic Bodies. Manchester: Manchester University Press.
Explores "the role played by clothing in the discourses of the Gothic" Wide ranging and interdisciplinary.Thomson, Philip (1972). The Grotesque (Critical Idiom Series, Monash University). London: Methuen.
Online version at: http://davidlavery.net/Grotesque/Major_Artists_Theorists/theorists/thomson/thomson.htmlThomas, Joe A. (1999).
"Pop Art and the Forgotten Codes of Camp".
IN: Memory and Oblivion: Proceedings of the XXIXth International Congress of the History of Art.
Russell Weinink and Jeroen Stumpel, eds. Dordrecht: Kluwer Academic Publishers. pp.989-995. Uhde, Jan (2005).
"Beyond the genre horror: implicit horror in the films of Jan Svankmajer".
IN: Schneider, Steven Jay & Williams, Tony (2005). Horror International (Contemporary Approaches to Film and Television). Texas: Wayne State University Press. Exhibition at George Eastman House, U.S.
"Composite Imagery 1850 - 1935 : The Early History of Photomontage". October 27, 1978 - February 18, 1979.
No catalogue known.
