Les photographies des objets mathématiques faites par Man Ray sont mystérieuses. Leur mystère tient autant aux objets photographiés qu’aux photographies elles-mêmes. On propose alors de saisir ce ...mystère comme une pensée de la photographie sur elle-même. Il apparaît donc possible d’expliquer la logique photographique à la lumière de la logique formelle des mathématiques, notamment à celle de la théorie des modèles, telle qu’elle se montre dans les objets mathématiques.
THE COVER Southgate, M Therese
JAMA : the journal of the American Medical Association,
05/2008, Volume:
299, Issue:
20
Journal Article
Peer reviewed
Southgate features the Ridgefield Landscape, one of Man Ray's early paintings, completed in 1913 in New Jersey when he was working at the artists' colony in the Palisades, across the Hudson River ...from Manhattan. The influence of the Armory Show, and especially of Cezanne, is evident. The three-dimensional vista of the rolling countryside is flattened to conform to the slightly vertical format of a two-dimensional piece of canvas. Emmanuel Radnitzky also known as Man Ray (1890-1976) was raised in Brooklyn and New Jersey, and by age 21 was working in Manhattan as a commercial artist. Evenings he took classes that were under the direction of George Bellows and Robert Henri. Increasingly drawn to modern art, he began frequenting 291, the Fifth Avenue gallery of photographer Alfred Stieglitz. There he made the acquaintance of works by such European avant-garde artists as Rodin, Picasso, and Braque. The watershed Armory Show held in New York in 1913 sealed his destiny.
Whitechapel Gallery on the High Street is the setting for A Handful of Dust: Photography after Man Ray and Marcel Duchamp. Conceived by curator David Campany as a speculative history of the twentieth ...century through the visual and conceptual motif of "dust," it combines artistic and vernacular photography, the obscure and the infamous to tell its gritty story. There are two starting points for the show: the first, T.S. Eliot's "The Waste Land" (1922), which encapsulated a postwar mood, on the precipice of a dystopic future that, the poem suggests, "will show you fear in a handful of dust"; the second, Man Ray's infamous close-up of Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even (The Large Class) (1915-23) from 1920. Alongside Eliot's poem, that photograph is placed at the start of the display, with other-less dusty-images of Duchamp's artwork as it appeared in various contexts from Surrealist journals to the front cover of a 1945 edition of Vogue.
Francis Picabia, Man Ray, and Erik Satie each contributed to a page of Picabia's magazine 391, published in June 1924. Picabia contributed a drawing, Satie a polemical writing, and Man Ray a ...seemingly abstract poem. Metamorphosis and interpretative simultaneity are both subjects and devices of this three-part collaborative effort. The page involves multiple levels of deliberate codification involving interrelated references to the Arensberg Circle, Satie's ballet Mercure, Renaissance art of Raphael and Albrecht Dürer, the Morse code, as well as dadaist and futuristic poetics. The mutative quality of possible interpretations suggests that the page is meant to be understood through multiple, even divergent and simultaneous, readings. The resulting interpretative flux recalls Picabia's own multi-layered approach to painting, which may serve as a model for understanding the operations of this 391 page. (Author abstract)
The cover Southgate, M Therese
JAMA : the journal of the American Medical Association,
10/2001, Volume:
286, Issue:
13
Journal Article
Peer reviewed
Man Ray's painting "Departure of Summer" is discussed, and a brief profile of Man Ray is offered. The painting prompts varied, sometimes contradictory responses from viewers--where some see violence, ...others see gentleness.
In 1928 the wealthy aristocrat and patron of the arts Comte Charles de Noailles commissioned Man Ray to make a film about his villa in the south of France. The cubist forms of the villa, designed by ...the architect and set designer Robert Mallet-Stevens, made Man Ray think of Stéphane Mallarmé's modernist poem Un coup de dés jamais n'abolira le hasard (1897). The title of the poem would, in Man Ray's words, 'become the theme of the film', reflected in its own title Les
Mystères
du château du dé (1929). Existing analyses of the relationship between the two works tend to focus on the semi-narrative content of the film and its series of poetic intertitles, bypassing more complex formal connections. This article argues that Mallarmé's poem can be used as a starting point for the exploration of formal and conceptual patterns in the film. It concentrates particularly on Man Ray's attention to space in Mallet-Stevens's architectural design, and argues that the reading of space reflects Mallarmé's emphasis on the 'blancs' in Un coup de dés.
"Cut out the eye from a photograph of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the ...limit of endurance. With a hammer well-aimed, try to destroy the whole at a single blow." With these words, Man Ray declared an art object that was at the edge of his control. The formula for creating the work was given. Reproduction and demolition were sanctioned. Even the emotional content was transferable. This was an object that could provoke and accept the blows of anyone's desire.
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