xie-kitchin
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Clarence John Laughlin is probably my favorite photographer. I discovered his work when I was in college, probably through A.D. Coleman's "The Grotesque in Photography" (out of print, but worth a look). His work probably best fits within the rubric of Surrealism. He was influenced by a lot of the same Symbolist literature, was in contact with Ray and Breton, and was included in a 1942 Surrealist exhibition. A lot of his work is concerned memory, history, and the hidden realities in the world around us. But I think he could also be treated within the context of the Southern Gothic, since lots of his work concerns that particular history, and there's a dark romanticism to much of it.
Another thing that always interested me in his work is the use of double exposures or layered negatives. Unfortunately, only one example of that here. I couldn't find better quality examples of the specific pieces that came to mind.
Titles are worth including, since many are quite poetic and provide some meaning.
The Bat, 1940
The Enigma, 1941
The Improbable Dome (No. 1), 1965
“The Black Gates of Oblivion” (1940)
“The Search for Identity, Number Three” (1941)
“The House of Hysteria” (1941)
The Masks Grow To Us, 1950
(Source didn't have title/date, but it's one of my favorites, so I'm including it anyway! Laughlin has a few pieces involving spirals and staircases.)
Another thing that always interested me in his work is the use of double exposures or layered negatives. Unfortunately, only one example of that here. I couldn't find better quality examples of the specific pieces that came to mind.
Titles are worth including, since many are quite poetic and provide some meaning.
The Bat, 1940
The Enigma, 1941
The Improbable Dome (No. 1), 1965
“The Black Gates of Oblivion” (1940)
“The Search for Identity, Number Three” (1941)
“The House of Hysteria” (1941)
The Masks Grow To Us, 1950
(Source didn't have title/date, but it's one of my favorites, so I'm including it anyway! Laughlin has a few pieces involving spirals and staircases.)