There’s something deeply violent lurking below the surface of Man Ray and Fashion, an aspect made all the more troubling by a curatorial strategy of omission.
Cuttoli recruited artists like Picasso and Man Ray to design textiles for her workshops in Algeria and shop in Paris, bringing Modernism to a broader audience in the early 20th century.
Jarmusch and Logan’s SQÜRL — which they describe as an “enthusiastically marginal rock band” — weaves a trippy musical accompaniment to four silent films by Man Ray.
The Surrealists’ insistence on irrationality was not a sport, but an attempt to engage in the political debates of their time.
Steve Hodel believes his father — a friend of the surrealist — committed the grizzly Hollywood murder as an emulation of the artist’s techniques.
Marcel Duchamp’s zines leapt from their lair to entertain artists and educate the public.
In Soulèvements, an ahistorical exhibition of art made for and about acts of protest, works either make their political agendas self-evident or embed them in their formal properties.
Jennifer Mundy acknowledges in her Preface to Man Ray’s Writings on Art that, compared to his friends Duchamp and Picabia, he has come to be seen as something of a lightweight.
MIAMI BEACH — For every skyscraper, zeppelin, airplane, or even lightbulb that demonstrated the progress of technology from the late-19th to mid-20th century, there were countless human bodies mangled, maimed, and electrified along the way.
PARIS — Where the newness of art comes from (when it comes) is something of a conundrum.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.