Edited with text by Robert Rocca, Pierre-Yves Butzbach. Text by Serge Sanchez, Sylvie Gonzalez, Laurence Benaïm, Marie-Pierre Ribère, Jean-Michel Bouhours.
A panorama of Man Ray’s protean artistic output spanning film, assemblage, drawing and much more
Pbk, 9.75 x 11.75 in. / 232 pgs / 220 color. | 5/28/2024 | In stock $40.00
Edited by Wendy A. Grossman, Edouard Sebline. Text by Wendy A. Grossman, Adina Kamien-Kazhdan, Edouard Sebline, Andrew Strauss, François Aspery, Mark Green, Kirsten Hoving, Alexa Huang, Peggy Kidwell, Philip Ording, Stuart Sillars, Cedric Villani, Gabriele Werner, Michael Witmore.
Hbk, 9 x 9.75 in. / 232 pgs / 150 color. | 2/24/2015 | Out of stock $60.00
Published by Silvana Editoriale. Edited with text by Robert Rocca, Pierre-Yves Butzbach. Text by Serge Sanchez, Sylvie Gonzalez, Laurence Benaïm, Marie-Pierre Ribère, Jean-Michel Bouhours.
Emmanuel Radnitzky, better known as Man Ray (1890–1976), occupies a prominent place in 20th-century art. Living at the heart of the Parisian artistic milieu, he participated in the innovative experiments of the Dadaists and Surrealists, met with painters, poets and intellectuals, and ultimately rose to fame for his portraiture. He developed a career as a fashion photographer, notably working with designers Paul Poiret and Elsa Schiaparelli. A tireless experimenter, he rediscovered the technique of “photograms”—which Tristan Tzara named “rayographs”—and developed “solarization” with Lee Miller in 1929. Man Ray is renowned for having revolutionized the art of photography, but he was also a painter, draftsman, sculptor, writer and filmmaker. This monograph synthesizes his entire artistic oeuvre, including painting, sculpture, works on paper and more. The book is thematically divided by medium, and includes such fascinating projects as the Marquis de Sade paintings and cinépoémes. This true panorama of his work allows for a better comprehension of Man Ray’s creative process and the importance of his art.
Published by Kerber. Edited by Christiane Ladleif, Thomas Levy. Text by Belinda Grace Gardner, Jochen Siemensa.
American artist Man Ray (1890–1976) is one of the most important representatives of Dadaism and Surrealism and, based on the multifaceted character of his work, is regarded as the father of numerous avant-garde strains that would seed the future of photography and film throughout the 20th century. The catalog brings together roughly 100 works from various phases. Included in this comprehensive monograph are his photographs and drawings, objects such as his famous chess set, sculptures and more. One particular focus is on Man Ray’s “Rayographs.” Around 1919–20, the artist began experimenting with photograms, positioning everyday objects on photo paper and exposing them to various light sources. The blurred contours of these “photos without a camera” exerted a great appeal on the Dadaists and subsequently the Surrealists; the poet Jean Cocteau described Man Ray as a “poet of the darkroom.”
Published by Hatje Cantz. Edited by Wendy A. Grossman, Edouard Sebline. Text by Wendy A. Grossman, Adina Kamien-Kazhdan, Edouard Sebline, Andrew Strauss, François Aspery, Mark Green, Kirsten Hoving, Alexa Huang, Peggy Kidwell, Philip Ording, Stuart Sillars, Cedric Villani, Gabriele Werner, Michael Witmore.
Man Ray's Shakespearean Equations—a series of paintings he considered to be the pinnacle of his creative vision—has long been a puzzle of Surrealism. What meaningful common thread could possibly link Shakespeare, mathematics and art? This volume sets out to unravel the puzzle by beginning with photographs of mathematical models that Man Ray took at the Institut Henri Poincaré in Paris in the 1930s. It then charts the artist's development along a path that culminates with the Shakespearean Equations, a series of oil paintings he made in Hollywood more than a decade later, inspired by that earlier photographic work. The canvases build a bridge from painting back to photography and reveal the ease with which Man Ray moved between various disciplines and forged his own path. An inveterate experimenter, he pioneered artistic activities in the realms of painting, object making, film and photography, challenging conventional boundaries and blurring established aesthetic categories.
Man Ray was born Emmanuel Radnitzky in Philadelphia in 1890 and grew up in New York, where he studied art at the National Academy of Design and the Ferrer School. A nomadic soul like his lifelong friend Marcel Duchamp, Man Ray relocated many times throughout his life, worked in many media and likewise stopped short of officially joining the ranks of either Dada or Surrealism, though he was informally close to both movements. Participating in the most groundbreaking formal experiments of the Western modernist avant-garde, Man Ray made Cubist paintings, readymades, camera-less photographs and nonnarrative films (among many other things). He died in 1976 and was buried in the Cimetière du Montparnasse in Paris. His epitaph reads: "unconcerned, but not indifferent."
Published by Skira. By Guido Comis, Marco Franciolli.
An exciting monograph dedicated to an extraordinary figure and one of last century’s most famous and influential artists. Man Ray (1890-1976) was a photographer, painter, and creator of objects, experimental films, and images which were at times enigmatic. This catalog, which presents more than 200 works and compares and contrasts images with biographical details, is divided into three main sections: Man Ray’s formative years spent between New York and an artists’ colony in Ridgefield, New Jersey; the Paris period; and the period spent between Hollywood and Paris, France-the city he ultimately chose to adopt as his home.
The publication describes the creation of some of his most famous pieces and the motifs-very often of females-that inspired the works. Man Ray’s life was marked by a succession of love affairs with famous and intriguing women, and this catalog dedicates several sections to this topic.
The book also deals with the themes permeating Man Ray’s work throughout the years, such as his passion for chess, the relationship between reality and illusion, and experimental photography and film. Comparisons are also made with the works of some of the most important artists of the twentieth century, such as Pablo Picasso, Marcel Duchamp, Constantin Brancusi, Jean Arp, and Francis Picabia.
Guido Comis is an art critic and an independent curator. Marco Franciolli is director of Museo d’Arte, Lugano.
Published by La Fábrica. Edited and text by Noriko Fuku, John P. Jacob.
Unconcerned But Not Indifferent is one of the most beautifully produced and revelatory monographs on Man Ray ever published. It draws exclusively on one of the largest Man Ray archives, that of the Man Ray Trust, which has remained largely unexcavated since it was brought to the U.S. in the late 1990s, and whose full scope has never before been published. The book is structured chronologically across the four phases of Man Ray's working life, in New York, Paris, Los Angeles and Paris again. Works reproduced here range from typographic studies done in 1908, through paintings, objects and sculptures to Man Ray's pioneering photography, from the "Rayographs" (abstract photographs produced from found objects) and "Solarizations" (a procedure of tonal reversion developed by Man Ray and Lee Miller), to his fantastic portraits of André Derain, Erik Satie, Juan Gris, Pablo Picasso, Jean Cocteau, Hans Bellmer, Joyce Mansour and many others--plus many rare images from his L.A. years. It also features supplementary materials to works and a useful chronology. As an object, Unconcerned But Not Indifferent is unmistakably a labor of love, from its contents to its binding (the cloth front board features an embossed emblem of the artist's bowler hat, and the paper for both plates and text is especially fetching), and a model of what a monograph can be. The artist known as Man Ray was born Emmanuel Radnitzky in Philadelphia, in 1890. A nomadic soul, like his lifelong friend Marcel Duchamp, Man Ray relocated many times throughout his life, and likewise stopped short of joining the ranks of either Dada or Surrealism, though he was informally close to both movements. He died in 1976 and was buried in in the Cimetière du Montparnasse in Paris. His epitaph reads: "unconcerned, but not indifferent."
Man Ray found the surreal in the commonplace, particularly in the female form, and this has made his photography some of the world's most accessible and recognizable: his ubiquitous La Violin d'Ingres creates a cello from a woman's torso with the addition of curliqued vents inked on her sides; his classic image of shining cinematic tears glistening on a powdered cheek has been tucked into mirror frames all over the world. This collection of more than 130 pictures dated between 1920 and 1950 covers not only Ray's work as one of the world's leading avant-garde artists--he was a tireless experimenter who participated in the Cubist, Dadaist and Surrealist art movements--but also his commercial work. It includes fashion photography and advertising images; portraits of many artists, including Marcel Proust, Marcel Duchamp and Andre Breton; and a portfolio of 26 Femmes. Art dealer Giorgio Marconi, who met May Ray in 1966 in Milan, contributes an insightful interview.
“I do not photograph nature, I photograph my fantasy,” Man Ray proclaimed, and he found in the camera's eye and in light's magical chemistry the mechanisms for dreaming. Schooled as a painter and designer in New York, Man Ray turned to photography after discovering the 291 Gallery and its charismatic founder, Alfred Stieglitz. As a young expatriate in Paris during the twenties and thirties, Man Ray embraced Surrealism and Dadaism, creeds that emphasized chance effects, disjunction and surprise. Tireless experimentation with technique led him to employ solarization, grain enlargement, mixed media and cameraless prints (photograms)--which he called “Rayographs”. These successful manipulations for which he was dubbed “the poet of the darkroom” by Jean Cocteau, were a major contribution to twentieth-century photography. Man Ray presents 43 of the greatest images from the artist's career. The essay by Jed Perl describes the influences on Man Ray's career and his enduring contribution to photography.
PUBLISHER Aperture
BOOK FORMAT Hardcover, 8 x 8 in. / 96 pgs / 44 reproductions throughout.
PUBLISHING STATUS Pub Date 6/15/2005 No longer our product
DISTRIBUTION Contact Publisher Catalog:
PRODUCT DETAILS ISBN 9780893817435TRADE List Price: $12.50 CAD $15.00
Published by Sean Kelly Gallery. Essay by Chrissie Iles. Introduction by Sean Kelly.
Drawn from several sources, this catalogue includes works by Marcel Duchamp and Man Ray that address the enduring friendship and shared interests of these two artists. The works included explore five decades of the shared milieus and aesthetics of these artist-peers, both of whom so significantly altered the making and understanding of art in the twentieth century. Loosely grouped around thematic concerns, it includes works that exemplify the artists' fascination with the game of chess, the study of optics, and the influence of such diverse sources as African sculpture, as well as the photographic recording of their mutual friends, including portraits of artists, poets and literary figures pivotal to the Dadaist and Surrealist movements. Ingeniously designed, this small volume is both a documentary of the artists' friendship and a study of art in the early 1920s.
PUBLISHER Sean Kelly Gallery
BOOK FORMAT Hardcover, 6.25 x 8.25 in. / 128 pgs / 32 color.
PUBLISHING STATUS Pub Date 2/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 112
PRODUCT DETAILS ISBN 9780966215823TRADE List Price: $45.00 CAD $55.00
Man Ray: Magician on Paper
Man Ray: Human Equations
Man Ray
Man Ray: Unconcerned But Not Indifferent
Man Ray: Women
Marcel Duchamp/Man Ray: 50 Years Of Alchemy
