Cover image for ManRay : photography and its double
ManRay : photography and its double
Man Ray, 1890-1976.
Personal Author:
Publication Information:
Corte Medera, Ca : Gingko Press, 1998.
Physical Description:
257 pages : illustrations ; 30 cm
General Note:
"This book was originally published to coincide with the exhibition Man Ray, la photographie à lÉnvers, organized by the Musee National dÁrt Moderne and held at the Galeries Nationales du Grand Palais in Paris, from April 29-June 29, 1998."
Added Author:
Format :


Call Number
Material Type
Home Location
Item Holds
TR647 .R388 1998 Adult Non-Fiction Central Closed Stacks-Oversize

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Reintroduced - the definitive Man Ray volume - Visually spectacular andntellectually stimulating - Includes 279 black & white illustrationsAngstrom] 1/3rd of the images have never been published beforel - Shattersreconceived myths - Divided into three sections which show how Man Rayduplicates', 'delineates', and 'denatures' reality - Includes scholarlyssays and an interview with Lucien Treillard - An outstanding monographeveals the genius Man Ray ADDITIONAL INFORMATION: Recognized as the mostriginal photographer of the twentieth century, Man Ray delighted thevant-garde of the 1929s and 1930s with daring, creative experimentation. Heas the first Surrealist photographer, a gifted rebel with an incisive eyend a passion for freedom and pleasure. His were the images - rayographs,oloraizations, uniquely unconventional portraits, and sensual nudes - thatevolutionized photography.

Reviews 2

Library Journal Review

Today Man Ray's vintage photographs are among the most highly prized in the history of the medium, yet he shunned the title photographer. Instead Ray (1890-1976) cultivated an image of himself as jack of all arts who came upon his revolutionary photographic techniques by chance. In eight clearly written but rather dry texts, De l'Ecotais and her coauthors, a well-qualified group of French scholars and curators, make a persuasive case for the centrality of photography to Ray's art and, perhaps more importantly, the rigor with which he practiced the craft. This catalog draws on revelations from the settlement of Ray's widow's estate, which brought 12000 negatives and 5000 contact prints to the French National Museum of Modern Art. Many of the nearly 300 images here, often including crop marks and other indications of work practices, are published here for the first time. The only disappointment is the lack of clear correlation between the text and images. Still, this nearly definitive work deserves a place in all serious photography collections.‘Eric Bryant, "Library Journal" (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

We think of Man Ray, born Emmanuel Radnitzky, as a surrealist photographer and a member of the early-20th-century avant-garde that changed the way we look at art. This book reveals Ray's other side. Shortly after he left the US for Paris, he became a very successful commercial photographer. Ray began his career by taking photographs of the work of his friends, who included Marcel Duchamp and Francis Picabia. It was not long before his work began to appear in Vanity Fair, Harper's Bazaar, and other fashionable magazines. After 1937, Ray took few photographs and devoted himself to painting. This book examines his career, and like most collections of essays written to accompany an exhibit (here, the 1988 retrospective of Ray's work at the Centre Georges Pompidou), the essays overlap and are at times repetitious. With that said, the book is a pleasure to read and a delight to the eye. The essays and images follow the development of Ray's artistic vision from his cropped commercial photographs to his rayograms, a process in which an object is placed on light-sensitive paper and exposed to light. His "discovery" of solarization is also discussed. Ray certainly was a leading proponent of nonobjective art. A book worth reading. General readers; upper-division undergraduates through professionals. T. Sexton; University of Alaska, Anchorage