Man Ray
(United States of America, France 1890–1976)
- Title
- Mathematical object
- Alternative title:
- Objet mathèmatique
- Year
- 1934-1936
- Media
- Photograph
- Medium
- gelatin silver photograph, vintage
- Dimensions
- 23.0 x 29.7cm image/sheet
- Signature & date
- Not signed. Not dated.
- Credit
- Alistair McAlpine Photography Fund 2007
- Accession number
- 238.2007
- Copyright
- © Man Ray/ADAGP. Licensed by Viscopy, Australia
- Location
- Not on display
- Further information
The son of Russian-Jewish immigrants, Man Ray spent most of his early life in New York. After graduating from high school Man Ray pursued a career as a painter, setting up a studio in his family’s home, whilst earning money as a commercial artist. During this time Man Ray frequently visited Gallery 291, developing a friendship with its founder Alfred Stieglitz who introduced Man Ray to many aspects of modernity and avant-garde developments in art. Man Ray began using photography largely to document his artwork, and that of other artists whilst also engaging in portraiture.
His friendship with Marcel Duchamp, whom he met in New York in 1915, was to have a significant influence upon his development as an artist. Duchamp introduced Man Ray to the Dada ‘anti-art’ movement. Dada, which emphasized freedom from the constraints of convention and morality, appealed to Man Ray and evoked from him a new playful artistic approach. His engagement with its ideas and his interaction is evident in his delight in toying with everyday objects, eliciting ambiguous and suggestive forms.
Moving to Paris in 1921, Man Ray set up a photographic studio with increasing emphasis on experimental techniques. These techniques reflected the influence of Surrealist ideas and imagery that surrounded him in his bohemian Montparnasse circle. Many of the experimental photographic techniques he deployed he popularized and became famous for, such as Rayographs (photograms) and his use of solarisation.
Between 1934-36 Man Ray photographed the mathematical objects at the Institut Henri Poincaré in Paris, as shown to him by the artist Max Ernst. ‘The fact that they were man-made was of added importance to me’, he wrote in his autobiography ‘Self portrait’, ‘and they could not be considered abstract as Breton feared when I first showed them to him – all abstract art appeared to me as fragments: enlargements of details in nature and art, whereas these objects were complete microcosms.’
- Bibliography (2)
-
Man Ray (2004), Judy Annear (Australia) (Author), Art Gallery of New South Wales (Australia, estab. 1874).
Cahiers d'art, nos.1-2 (1936), Editor Unknown (Author).
- Exhibition history (4)
-
Man Ray, (06 Feb 2004–18 Apr 2004), at Art Gallery of New South Wales (Australia, estab. 1874), Art Gallery Rd Domain Sydney New South Wales Australia 2000.
Man Ray, (07 Aug 2004–17 Oct 2004), at NGV: International (Australia, estab. 2003), 180 St Kilda Road Melbourne Victoria Australia 3000.
Man Ray, (08 May 2004–18 Jul 2004), at Queensland Art Gallery (Australia, estab. 1895), Cnr Melbourne & Grey Streets South Brisbane Queensland Australia.
The surreal aesthetic, (28 Jul 2007–14 Oct 2007), at Art Gallery of New South Wales (Australia, estab. 1874), Art Gallery Rd Domain Sydney New South Wales Australia 2000.