Le Violon d'Ingres is a complex photograph that demonstrates Man Ray's long‐standing admiration for Ingres, as well as his desire to mock tradition. Man Ray's distortion and deformation of the ...model's body engage Surrealist concepts of metamorphosis and formlessness, but they also belong to a larger context of fascination for Ingres's manipulations of anatomy during the interwar period, as seen in the writings of critics such as André Lhote. The revolutionary nature of Ingres's distortions of the female body had parallels in the social distortions found in the writings of Sade, whom Man Ray and his Surrealist colleagues deeply admired.
Moffitt uncovers the works of queer photographers and filmmakers. Facing censorship, early queer photographers and filmmakers focused intently on bodies forbidden to them, using the academic ...tradition of nude portraiture to mask idylls in immersive erotic landscapes. Inspired by the formal experiments of the Surrealists, they captured tender, intimate moments through paradoxically violent cuts and close framing. Acclaimed queer films such as Stranger by the Lake and Moonlight draw comparisons to the photographic visions of Wolfgang Tillmans and Viviane Sassen.
This article examines the extent to which two of Duchamp’s readymades, Fountain (1917) and the textual readymade ‘Men Before the Mirror’ (1934), deal with questions of male psychology and ...subjectivity.
The bulk of the essay is taken up with an analysis of the complexities of ‘Men Before the Mirror’, a text which, in the past, was thought ot have been appropriated by Duchamp from a female friend of Man Ray, and then signed by him using the name of his female alter ego, Rrose Sélavy.
It is argued that the authorial ‘voice’ in this text is, in fact, remarkably close to that of Duchamp himself, given the wider range of his thematic preoccupations.
Simultaneously arguing against the view that the gender switches of Duchamp/Rrose Sélavy can be read as deconstructive of socially inscribed gender positions, the article seeks to establish that the relationship of Duchamp’s/Rrose’s text to the photographs by Man Ray that accompany it in its original published context, reveal fundamentally masculine or ‘homosocial’ concerns. These in turn help to clarify the underlying dynamics of Duchamp’s and Man Ray’s relationship.
Hands-On Surrealism Powell, Kirsten H.
Art history,
December 1997, Volume:
20, Issue:
4
Journal Article
Peer reviewed
Images of hands abound in Surrealist art and literature. From André Breton's writings, including his novel Nadja, to photographs published in Surrealist books and journals, the hand appears in a ...variety of guises. By positioning Surrealist uses of hands against the backdrop of Walter Benjamin’s essay, ‘The Work of Art in the Age of Mechanical Reproduction’, the unique qualities of Surrealist imagery become apparent. In Surrealist photographs by Man Ray and Maurice Tabard and books and articles by Breton and Georges Hugnet, hands figure as weird, magical, uncanny objects, as texts to be read to unlock the secrets of the psyche, as connectors between our modern world and our primitive past, and also as symbols of art and signs for art‐making in an age of Surrealist mechanical reproduction.
Surrealism’s scientific imagery : Max Ernst, mathematical objects and non-euclidean geometry.
The surrealists’ interest in the various scientific fields through the theories of the images they ...generate, arose in the first years of their movement and never failed even up to the post-war period, evolving according to the rediscovery of scientific theories or objects. Max Ernst’s work is particularly representative of science’s appeal in the surrealist milieu. It recurrently appears in various shapes with this artist : diagrams and mathematic equations, rulers and callipers, figures either geometrical or born of cellular biology, cosmological visions... During the thirties, the appropriation of the theories of non-euclidean geometry dominates surrealism’s scientific imagery, together with the rediscovery of mathematical objects. These scientific models, translating mathematical equations in three dimensions, are known through Man Ray’s photographs, and appeared in several surrealist exhibitions. Max Ernst also participated in this collective fancy, by incorporating mathematical objects in his collages and by proposing his personal reading of the theories of non-euclidean geometry.
A 1926 diptych by Surrealist photographer Man Ray brought $607,500 at a Christie's auction in New York in October. The work, "Noire et Blanche," was one of Man Ray's signature pieces of the ...Surrealist period.
A Handful of Dust Pratt Photography Gallery 200 Willoughby Ave., ARC Building, Lower Level 718-687-5639 Through Dec. 2 On your way through the vestibule of the Pratt Photography Gallery, you pass a ...reproduction of "Elevage de poussiere (Dust Breeding)," a photograph taken by Man Ray in 1920 of a sheet of glass covered with clumps of dust that had been arranged by Marcel Duchamp.
Man Ray's straightforward portraits are not as simple as they seem, argues his longtime friend Renate Gruber, the Cologne-based widow of German curator and collector L. Fritz Gruber, who helped ...re-establish Man Ray's reputation after World War II.
