like imagery, as in the work of Clarence John
Laughlin, Frederick Sommer, or Jerry Uelsmann.
KirstenA. HovingSeealso: Atget, Euge`ne; Beaton, Cecil; Brassaı ̈;
Blumenfeld, Erwin; Fashion Photography; History
of Photography: Interwar Years; Laughlin, Clar-
ence John; Levy, Julien; Man Ray; Manipulation;
McBean, Angus; Miller, Lee; Montage; Multiple
Exposures and Printing; Photogram; Photography
in Europe: France; Sandwiched Negatives; Solariza-
tion; Sommer, Frederick; Tabard, Maurice; Teige,
Karel; Ubac, Raoul; Umbo (Otto Unbehr)
Further Reading
Ades, Dawn, Rosalind Kraus, and Jane Livingston.
L’amour Fou: Photography and Surrealism. New York:
Abbeville Press, 1985.
Alexandrian, Sarane.Surrealist Art. London: Thames and
Hudson, 1970.
Bradley, Fiona.Surrealism. Cambridge: Cambridge Univer-
sity Press, 1997.
Breton, Andre ́. Trans. Richard Seaver and Helen R. Lane.
Manifestoes of Surrealism. Ann Arbor: The University
of Michigan Press, 1972.
Foster, Hal.Compulsive Beauty. Cambridge, MA, and Lon-
don: MIT Press, 1993.
Gale, Matthew.Dada and Surrealism. London: Phaidon,
1997.STEVE SZABO
American
Born July 17, 1940, Steven Szabo was a native of
Berwick, Pennsylvania. As a young man he worked
in the Pennsylvania steel mills. Though he attended
Pennsylvania State University and the Art Center
School of Design in Los Angeles, California, Szabo
was basically a self-taught photographer. His mul-
tiple contributions to twentieth-century photogra-
phy include work as a photojournalist, a fine art
photographer, and an art educator.
Szabo was employed at theWashington Postas a
part-time photography lab assistant in 1962. He sub-
sequently worked as a staff photographer from 1966–
1972, because of the Civil Rights movement and the
unpopular war in Vietnam, a particularly turbulent
time in American social and political life. His photo-
graphs won awards that include the top prize for
feature photography from the White House News
Photographers Association. In 1972, he took a six-
month leave of absence from the hectic and some-
times hazardous world of photojournalism and went
to a farm on the Eastern Shore to devote time to
photographing the landscapes of Somerset County,
Maryland. Using an 810-inch large-format cam-
era, he photographed the woods and marshes, and the
abandoned and decaying cars and buildings therein.
Instead of a six-month retreat, Szabo worked on
the Eastern Shore from 1971 until 1976 and produced
a series of fine-art platinum prints that became his
first published book of photography. Inspired by an
exhibition of platinum prints by Frederick H. Evans,
Szabo contacted George Tice, who willingly shared
his experience with the process. These images explore
the abandoned landscape, pockmarked with neglected
homes, churches, boats, and overgrown weeds. The
lingering traces of previous human presence and activ-
ity in Szabo’s Eastern Shore photographs silently
persist though natural elements steadily attack and
replace them. Working with Carl Sesto at Addison
House printing, Szabo produced an edition of 600
hardbound books calledThe Eastern Shore.
In the early 1970s, Szabo was one of several
prominent photographers working in Washington,
D.C. Others included Mark Power, Joe Cameron,
Allan Appel, and John Gossage. On a trip to New
York, Szabo met with Cornell Capa, director of the
International Center of Photography. Capa recog-
nized in Szabo’s work qualities he expected from,
in his terms, the ‘‘concerned photographer.’’
From 1976 until 1990, Szabo produced several
bodies of work, combinations of urban and rural
landscapes, in series that often reflect travels over
these years. After the Eastern Shore work, he
returned to Washington, D.C. and used a cumber-
some 11 14-inch view camera to photograph
street scenes. The combination of the spontaneous
street activity and a bulky view camera produced
his second body of work. In 1980, he was invited to
teach at the Rencontres Internationale in ArlesSURREALISM