The surrealist photocollages of Allen A. Dutton began to circulate in the 1960s, linking him to a cohort in photography that, collectively, challenged the photo establishment’s dictates regarding acceptable subject matter and content while, simultaneously, extending the range of approved craft practices. This put him in the company of Jerry Uelsmann, Les Krims, Arthur Tress, Bea Nettles, and other transgressive spirits expanding the definition of photography. […]
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