(1890-1976), Man Ray was born in Philadelphia, American photographer, and leading figure in the artistic avant-garde in Paris of the 1920s. He studied at the National Academy of Design in New York City, and held his first one-man show of paintings in 1912. With his friend, the French painter Marcel Duchamp, he helped to found the New York City Dada group in 1917. Under Duchamp’s influence, he began to work with new materials and techniques, for example, painting with an airbrush on glass and other surfaces.
His ready-madessuch as his flatiron with tacks projecting from the bottom called The Gift (1921, Museum of Modern Art, New York City)were made from everyday manufactured objects. He also pioneered in kinetic works, which have moving parts. Going to Paris in 1921, he developed Rayographs, abstract images made by placing objects on light-sensitive surfaces. He also became involved in surrealism and made art films, including L’toile de Mer (1928). The expressive possibilities of photography interested him increasingly, and in California from 1940 to 1946 he taught the subject.
In later years in France, he experimented with new ways of making color prints, and he published an autobiography, Self Portrait (1963). In the spirit of Dada and Surrealism, Man Ray has said he created works of art designed to “amuse, annoy, bewilder, mystify, [and] inspire reflection. ” If there is one area in the arts in which Man Ray has left an indelible mark it is in photography. Starting with his experiments in Paris in 1921-22, Man Ray has consistently pushed the formal and imaginative boundaries of photography into the outer limits of creative expression.
At 50, Man Ray was already a mature artist with an international reputation. During the Hollywood years he not only produced a prodigious number of paintings, but he created a large body of work in photography , and many “objects of my affection,” as he liked to call them. Perhaps the most compelling “object of his affection” he encountered among the incredibly diverse group of people with whom he mingled was Juliet Browner, who became his muse and eventually his wife in a double wedding ceremony with Dorothea Tanning and his friend and fellow Surrealist, Max Ernst.
Max Dupain born in 1928 has always been recoginised as a famous Australian photographer. Australian photographer, Max Dupain (1911 -1992) was best known for his personal work – images that celebrate Australian identity, such as Sunbaker (1937). This exhibition shows Dupain’s commercial photography, which until now has rarely been acknowledged. Dupain established his first studio in 1934 in Bond Street, Sydney. He moved the studio to Clarence Street in 1941 when he entered a partnership with the photo-engraving firm of Hartland & Hyde.
The studio has operated continuously since its formation with photographer Olive Cotton, Dupain’s first wife, maintaining the studio during his war service. In 1946, after serving as a camouflage officer in the RAAF, Dupain photographed Australia for the Department of Information. He then resumed work at the studio in 1947, actively seeking architectural and industrial clients as well as maintaining his advertising and portrait commissions.