- ペーパーバック: 128ページ
- 出版社: Dover Publications (1980/1/1)
- 言語: 英語
- ISBN-10: 0486238423
- ISBN-13: 978-0486238425
- 発売日： 1980/1/1
- 商品パッケージの寸法: 23.8 x 0.8 x 31 cm
- おすすめ度： この商品の最初のレビューを書き込んでください。
- Amazon 売れ筋ランキング: 洋書 - 51,505位 (洋書の売れ筋ランキングを見る)
Photographs by Man Ray: 105 Works, 1920-1934 (英語) ペーパーバック – 1980/1/1
Born in Philadelphia in 1890, Man Ray began his professional life as a painter before taking up photography in 1915. In Paris during the 1920s his career as a fashion photographer and portraitist took off, and it was there that he discovered the possibilities of cameraless photography. He continued to paint and take photographs both in the United States and Paris until his death in 1976. He has been the subject of major exhibitions at museums throughout the world, and is one of the best-known photographers of the twentieth century.
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Man Ray's female figures are an offbeat take on the male gaze in which the processes are as sexy as the women. Along with his female faces, they demonstrate why Man Ray was much in demand by fashionable magazines. The "celebrity" portraits are of his fellow male artists & writers, with the exception of Gertrude Stein - who can hardly be glamorized anyway. The rayographs were created by placing objects directly on film, but the experimental nature of Man Ray's art is seen throughout this inexpensive book from Dover Publications. Picasso, Eluard, Breton, Tzara & Rrose Selavy a.k.a. Marcel Duchamp contributed texts. Highly recommended.
Yet Man Ray was a human being, not a conduit for something nonhuman. He crafted his work through intelligence, taste, and experiment: clearly human proclivities and endowments. Thus, even at this strangest, Man Ray could not transcend Man Ray, the human being. Some things are given and cannot be taken.
The brief commentary on each section of Man Ray's work is abysmal because mostly incomprehensible. When one stomps on too many conventions, communication ceases. This is neither good nor pleasant; it is not profound; it is pathetic.
Nevertheless, Man Ray, at his best, can be fascinating; at his worst tasteless or merely perplexing. But we cannot ignore his role in modern photography and art in general.