ABSTRACT
In many ways, the relationship between the photo-conceptualism and Surrealism has been entirely forgotten, possibly as a result of the desire to position the former as a seamless product of postmodernism. This chapter presents contemporary works that speak to the complexities of the 21st century; however, in order to investigate the multifaceted nature of these interventions, one must keep in mind the larger debates within photography and performance that have shaped their reception. The first step to understanding the status of performance in photography is considering the fact that the photograph has been understood as performative being ever since its inception, despite the prevailing notion that pre-conceptual photography was purely documentary-based. DeSana's 1980 Coat Hanger, for instance, is clearly in line with Surrealist photographers like Hans Bellmer, but DeSana adds a contemporary touch with his characteristically punk use of dramatically lurid and sexy colors.
