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Photographs and Words

ship out of Marseille with Breton, Victor Serge and Claude Levi-Strauss, when he was not; that Man Ray's companion in the late 1930s was Adrienne Lacroix (the last name of Man Ray's first wife) rather than Adrienne Fidelin. While most of these errors are incidental, and do not affect interpretation, some of the political ones do, and as a writer who is making political claims for his contribution to surrealist studies, such things should matter. Bate has done research. He has found, for instance, a significant document in the archives of the PCF that describes the 1931 anti-colonial exhibition organised by the surrealists in conjunction with the PCF and the Anti-Imperialist League. This will change how we view that exhibition. In general, though, he has spread himself too thin in this study; he tries to do too many things at once. One sign of this is the change in his perspective from the more theoretically-informed chapters to the historical ones, i.e. from a position reading past surrealism's own claims with the aid of semiotics and psychoanalysis, as Krauss and Hal Foster do in their own studies of surrealism, to a positive but faulty description of events. Rather than an analysis of the relations between photography and surrealism (which is the dialectical project Andre Breton attempts in Surrealism and Painting, holding the two terms in tension with one another), Bate addresses them consecutively and inconsistently, which results in a book that, while quite valuable in some respects, is less than the sum of its parts.