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Comment on Man Ray Was So Much More Than a Photographer by Jimbopxl
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Comments for Hyperallergic
Stepping into the exhibition Man Ray: When Objects Dream at The Metropolitan Museum of Art feels like entering the bellows of an old camera.
Left: Man Ray, “La femme (Woman)” (1918–20), gelatin silver print; right: Man Ray, “L’homme (Man)” (1918–20), gelatin silver printWhile the exhibition centers Man Ray’s 1920s rayographs, it shows that the Surrealist was so much more than a photographer.
Man Ray’s work stands up tremendously well against the history of photography writ large — he doesn’t need The Met to bolster his brand.
Man Ray, “Chess Set” (1920), woodMan Ray, “Aerograph” (1919), gouache on paperboardDetail of uneven airbrush application in Man Ray, “Aerograph” (1919), gouache on paperboardMan Ray, “The Egg Beater” (1923), cliché verre (photographic reproduction)Detail of Man Ray, “La femme (Woman)” (1918–1920), gelatin silver printMan Ray, “Facsimile of Revolving Doors” (1926), portfolio of 10 pochoirs.
Man Ray, Champs délicieux (Delicious Fields) (1922), portfolio of 12 gelatin silver printsInstallation view of Man Ray: When Objects DreamMan Ray: When Objects Dream continues at the Metropolitan Museum of Art (5000 Fifth Avenue, Upper East Side, Manhattan) through February 1, 2026.