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Abstract
Man Ray is commonly recognized as an American artist who associated with the Parisian Dadaists and Surrealists in the 1920s and 30s. Many of his works also demonstrate an interest the concepts and aesthetics of the Italian Futurists. This thesis will first examine the notion of Futurism in the United States between the years 1911-1915. Then, a selection of Man Rays work as it relates to that of the Futurists, concentrating primarily on material from 1913-1917, will be analyzed. Cross-comparisons will be made between artistic and political agendas of Man Ray and the Futurists. Additionally, a reading of Man Rays film Emak Bakia (1926), using the Futurist Manifesto on Cinema (1916) as a guide, will shed light on the artists continued interest in Futurist concepts such as dynamism and states of mind.