MAN RAY 曼·雷


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PHOTOGRAPHIC WORK

Photography is born to be a surreal art form. However, the works of Man Ray project a unique point of view, that is, photography lies in the scale balance point liberating the surreal and preserving the everyday existence. It is a two-dimensional space scale where the left and right ends possess a strong contrast. To take Kiki in Le Violon d’Ingres, one of Man Ray’s most famous photographs as an example, the woman Kiki in a turban and a piece of cloth, with her back marked with the f-shaped sound holes of a stringed music instrument, seems to suggest the fiddler’s dream has come true. Thus the surreal transformation is earmarked for completion. The uniqueness of Man Ray in the history of photography is not only because of the prominent labels on him, but also of the prominent fact that when he was regarded as a master photographer, he felt embarrassed by the excessive enthusiasm. Man Ray paid more attention to his own art achievements, and often mentioned photography in an irrespectful way, saying “I do not particularly consider myself as a photographer, because for me to be a photographer is merely a means rather than an aim. It is like I often drive because I love having a ride, but it does not mean I want to become a driver.”

攝影作品

攝影天生就屬於超現實的藝術,但曼·雷的作品提供了一個特殊的觀點,那就是攝影處在一個解放超現實和保存日常所見的天秤支點,而這是個二維空間的天秤,左右有著強有力的對比以

琦琦(Kiki, Le Violon d’Ingres》這張他最有名的照片之一為例,照片中女人背部複製了的樂器音箱縫細的記號,頭巾與布幔,似乎提琴手的夢想已經勾勒成真,於此超現實主義的轉化於焉完成。曼·雷在攝影史上的特別,並不僅僅因為他身上的一些顯赫標籤,他最突出的地方在於當他被視作一個攝影大師時,他卻為這種過分的熱情感到尬。曼·雷更注重自己的藝術成就,他常常出一些對攝影並不恭敬的話,我自己並不特別地認為自己是攝影師。因為對我來,攝影術只是用於表現的手段而已,它不是目的。我因為喜歡兜風而經常開車,但我自己並不想成為一個駕駛員。”

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