as well as in that of Kirsten Hoving,
who wrote:
Frederick H. Evans, Portrait
of Aubrey Beardsley, 1894.
To question why Surrealists
were
drawn
to
the
fragmented body is to
confront an issue
as
complex as Surrealism
itself. The disintegrated
body allowed Surrealist
artists and writers to rethink
received notions about
the body in its realities,
both anatomical
and
psychological.
In an eloquent synopsis, Ralph
Rugoff states:
With its numerous uses and
far-flung
associations—
its links with intimacy and
analysis, tenderness and
brutality, communication
and
concealment—the
hand seems destined to
endlessly haunt and inspire
photography's collective
imagination.
HYLAND
