1979 Malerei und Photographie im Dialog(Painting and Pho-
tography in Dialogue); Kunsthaus, Zurich, Switzerland
1979 Photographic Surrealism; The New Gallery of Contem-
porary Art, Cleveland, Ohio
1980 Art et photographie; Palais des Beaux-Arts, Brussels,
Belgium
1983 The Surrealist Spirit in Belgian Photography; Prakapas
Gallery, New York, New York
1985 L’Amour fou: Photography & Surrealism;CorcoranGal-
lery of Art, Washington, D.C., and traveling
1987 L’œil du Minotaure. Ubac, Brassaı ̈, Alvarez Bravo, Bell-
mer(The Eye of the Minotaure. Ubac, Brassaı ̈,Alvarez
Bravo, Bellmer) Man Ray; Galerie Sonia Zannettacci,
Gene`ve, Switzerland
1989 Das innere der Sicht. Surrealistische Fotografie der 30er
und 40er Jahre(The Inside of the Vision. Surrealist Photo-
graphy in the 1930s and the 1940s); Museum Moderner
Kunst, Vienna, Austria
1996 L’informe, mode d’emploi(The Unformed, Directions for
Use); Centre Georges Pompidou, Paris, France
1998 Les maıˆtres du surre ́alisme. Explorateurs de l’inconscient
(Masters of Surrealism. Explorers of the Unconscious);
Kinteshu Museum of Art, Osaka, Japan
1999 Une passion franc ̧aise. Photographies de la collection Roger
The ́rond(A French Passion. Photographs from the Roger
The ́rond Collection); Maison Europe ́enne de la Photogra-
phie, Paris, France
Selected Works
Agui with the Damaged Mirror Silvering, 1932–1933
Dalmatic Stones(series), 1932–1933
The Street Behind the Station/Homage to Chirico, 1936
Penthesilea’s Fight(series), 1938–1939
The Sleeping Room/The Studio, 1938
Fossile, 1938
The Nebulous, 1939
The Alphabetical Order, 1941
Tied Objects/Polygonal Network, 1942Further Reading
Ades, Dawn, Jane Livingston, and Rosalind Krauss.L’Amour
fou: Photography & Surrealism. New York: Abbeville
Press, 1985.
Bazaine, Jean, Yves Bonnefoy, and Paul Eluard.Ubac.Paris:
Maeght, 1970.
Bouqueret, Christian.Raoul Ubac. Photographie.Paris:Le ́on
Scheer, 2001.
Coke, Van Deren, and Diana C. Du Pont.Photography: A
Facet of Modernism. New York: Hudson Hills Press, 1986.
Dewolf, Philippe. ‘‘Raoul Ubac. Photographie et surre ́alisme.’’
InContretype. (Brussels), no. 50 (March-April 1996): 2–3.
Dotremont, Christian. Raoul Ubac. Photographies des
anne ́es trente(Raoul Ubac. Photographs of the 1930s).
Paris: Maeght, 1983.
Juliet, Charles.Entretien avec Raoul Ubac(A Talk with
Raoul Ubac). Paris: L’Echoppe, 1994.
Le mouvement surre ́aliste a`Bruxelles et en Wallonie (1924–
1947). Paris: Centre culturel Wallonie-Bruxelles, 1988.
Raoul Ubac. Photographies, peintures, sculptures, dessins et gra-
vures(Raoul Ubac. Photographs, paintings, sculptures, draw-
ings and etchings). Brussels: Editions du Botanique, 1987.
Re ́trospective Raoul Ubac. Brussels/Paris: Palais des Beaux-
Arts/Muse ́e national d’Art moderne, 1968.
Sayag, Alain.Collection de photographies du Muse ́e national
d’Art moderne 1905–1948. Paris: Centre Georges Pompi-
dou, 1996.JERRY UELSMANN
American
Influenced by Surrealist ideology about dreams
and the subconscious, Jerry Uelsmann is consid-
ered a master of the photomontage creating his
private metaphoric statements in universes of his
imagination. Initially experimenting with combina-
tion printing as early as 1959, in the 1990s Uels-
mann mastered working with the digital computer
to continue producing photographs in which rea-
lity and fantasy seamlessly merge into complex
visual poetry. Process and idea remained simulta-
neously integral to the success of the final image, as
he always stressed.
Born in Detroit, Uelsmann developed an interest
in photography at the age of 14, with the encour-
agement of his father. He later went on to study
photography under Minor White and Ralph Hat-
tersley at the Rochester Institute of Technology,
New York, where he received his BFA in 1957.
While the purist or straight approach dominated
the aesthetics of image making at the time, both
White and Hattersley suggested to their students
the possibility of creating work as metaphors for
ideas and feelings. Uelsmann’s fascination with
‘‘those dark and evocative images that emerge
from just beyond the threshold of conscious under-
standing’’ began during an assignment for White’sUBAC, RAOUL