Man Ray’s Deadpan Wit on Display at the Met

When objects dream sensational Ray man Show in the Metro -Museum of Arts (until February 1), focuses on sophisticated experiments of the artist with the images of Cameraless, which he called Rayoographs: shady impressions left on the photo paper with distracted objects after the paper was put into light. It is not surprising that his first experiments in the form, published in 1922, as a set of twelve abstract images, are one of his most advanced. Ray has already directed Antich, the subversive spirit of Dada and surrealism with the help of a number of ready -made sculptures, which included a dotted to sit down. But, like Marseille Dyushan, Ray was a movement for herself. Regardless of the fact that the environment, sculpture, film, photography-on, rethought it with purposeful intellect and unperturbed wit, which still looks completely avant-garde.

“Without the name”, 1931.Photo © Man Ray 2015 Trust / ARS / Adagp / Courtesy Bluff Collection

In MET, curators Stefani d'Alalesandro and Stephen S. Pinson established a living dialogue between the media, which shows how all the work of Ray of the nineteen twenties and then were closely connected with his experiments in photographs. Their installation opens as a series of magic boxes, with windows that attract visitors deep to the exhibition, in time and space. As promised, many of the most amazing images are photograms that, even when we can make out their usual components – a magnet, a pipe, a key, a pistol – how visible from another consciousness. And they always cover the picture or sculpture nearby. Race “Obachus” (1921), twisting the painted tin, suspended on a thin metal pillar, foresees the elegance and simplicity of many subsequent riographs. A group of solarized photographs, including some of the most famous portraits and Nu Ray, fix the soft, silver quality of many riographs in a more concentrated form.

The most chaotic photograms of Ray, which are pushed out of the frame or look like bombs of time ready for an explosion, are an echo in his films projected onto the rear walls, the show themselves. Nervous, comic, meaningless and bewitching, its experimental shorts are a classic underground cinema. Their restless energy is not entirely connected together, but they help to emphasize the spirit of ingenuity, which electrifies the exhibition as a whole.– Vo Alex


The horizon of New Yorka

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The picture of the artist Parmen Daushvili.

“Public work”, 2024.The art work of Parmen Daushvili / Doily provided by the artist’s gallery / Polina Berlin; Photo by Stephen Probert

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