koshland gallery

March 5, 2007 – August 5, 2007

STUDIO MAN R AY
Photographs by Ira Nowinski
STUDIO MAN RAY
Photographs by Ira Nowinski

The studio on rue Férou (6th

District) in Paris was also the home that Man Ray (1890-1976) shared
with his wife Juliet for twenty-five years. The couple lived and worked
there in the converted garage from 1951 to 1976, until the artist’s death.
Juliet preserved the studio as homage to her late husband. Only select
people were allowed into the studio on rue Férou, which was kept
under three locks.
In the series of photographs, taken
in 1983 and 1985 San Francisco photographer Ira Nowinski captured
the complex web of work, art, and life created by Man Ray and
preserved by Juliet. The extreme close-up, the tight frames, the narrow
angles, and the lyrical pans of Nowinski’s photographs emphasize the
meaningful relationship of art objects, documents, and personal
mementos in the studio. In 1989 a flood severely damaged the building.
Juliet died in 1991, and in 1995 the studio’s contents were auctioned at
Sotheby’s in London. The project is a unique document of Man Ray’s
studio, which was published as a book by Nazraeli Press in 2006 as The
Studio of Man Ray and is now exhibited for the first time.

Alla Efimova
Chief Curator

My first visit to the studio in 1983 set the

stage for subsequent visits. Upon entering, I picked up an ashtray containing two
cigarette butts. Juliet politely told me to put it down exactly where I had found it.
I was then informed that these cigarette butts were from the last visit to the studio
by Marcel Duchamp. Then I knew where I was, or where I could be. Man’s
presence was everywhere—looking over my shoulder, behind a mirror—and every
time I returned I found that some of the objects had mysteriously re-arranged
themselves, creating new possibilities and new layers to be discovered.

Ira Nowinski
An excerpt from The Studio of Man Ray (Nazraeli Press, 2006).

Studio Man Ray has been made possible through a grant from The Reva and David Logan
Foundation, along with generous support and loans from Michael Dawson Gallery, Paige
Gallery, and Connie and Stephen Wirtz.
 JUDAH L. MAGNES MUSEUM
2911 Russell Street
Berkeley, CA 94705
510.549.6950 Fax 510.849.3673
www.magnes.org

Studio Man Ray

Photographs by Ira Nowinski
March 5, 2007–August 5, 2007

Man Ray was born Emmanuel Radnitzky in Philadelphia and raised in Brooklyn. In 1911, the
Radnitzky family changed their surname to Ray in reaction to the ethnic discrimination and
anti-Semitism. In 1921 Man Ray moved to Paris where he made his living as a professional
fashion and portrait photographer while radicalizing the use of photography in the context
of Dada and Surrealist movements. He became internationally famous as the photographer
of Parisian artists between the wars.

This exhibition will display San Francisco photographer Ira Nowinski’s documentation of
Man Ray’s studio inside and out, preserving the Paris studio on film exactly as it had been
during Man Ray’s final days. Several of Man Ray’s three-dimensional works will be on loan
from Stephen Wirtz of the Stephen Wirtz Gallery in San Francisco.

Partial list of objects in the exhibition

Ira Nowinski, Silver print, Le Violon d’Ingres, with variation of It’s

Springtime and parts of various objects, 1983, Gelatin silver print.
Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, Various objects on Le Beau Temps wall, 1983, Gelatin

silver print. Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, Leather shadow, 1983, Gelatin silver print. Copyright

2007 Man Ray Trust/ADAGP

The Studio of Man Ray by Ira Nowinski at the Magnes

Page 1 of 5
Ira Nowinski, Mezzanine table with lamp, pipes, antique iron, and
Café Man Ray, 1983, Gelatin silver print. Copyright 2007 Man Ray
Trust/ADAGP

Ira Nowinski, Back shelf wall near kitchen with matchbox picture,
1983, Gelatin silver print. Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, Surrealist library, with hand made book by Brassaï,

1983, Gelatin silver print (2002). Copyright 2007 Man Ray
Trust/ADAGP

Ira Nowinski, Eye, 1983, Gelatin silver print. Copyright 2007 Man
Ray Trust/ADAGP

Ira Nowinski, Darkroom with negative boxes and box of Agfa portrait
film, 1983, Gelatin silver print. Copyright 2007 Man Ray
Trust/ADAGP

Ira Nowinski, Danger Haute Tension, hand painted sign on vestibule

door, 1983, Gelatin silver print. Copyright 2007 Man Ray
Trust/ADAGP

The Studio of Man Ray by Ira Nowinski at the Magnes

Page 2 of 5
 Ira Nowinski, Couch with photo of Marcel Duchamp and Man Ray,
1983, Gelatin silver print. Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, Couch with Le Manche dans la Manche and various

objects, 1983, Gelatin silver print. Copyright 2007 Man Ray
Trust/ADAGP

Ira Nowinski, Bedroom with L’Observatoire and two paintings, one of

Juliet, 1983, Gelatin silver print. Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, Shelf wall with various objects and drawings, 1983,
Gelatin silver print. Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, Imaginary portrait of the Marquis de Sade, 1983,

Gelatin silver print. Copyright 2007 Man Ray Trust/ADAGP

The Studio of Man Ray by Ira Nowinski at the Magnes

Page 3 of 5
 Ira Nowinski, Mezzanine with tax box, various nails, 1983, Gelatin
silver print. Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, Objects on shelf wall, 1983, Gelatin silver print.

Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, Books, Rome Prize, Hommage a Sade, 1983, Gelatin

silver print. Copyright 2007 Man Ray Trust/ADAGP

Ira Nowinski, View of studio from mezzanine, with parachute that

covered main space, 1983, Gelatin silver print. Copyright 2007 Man
Ray Trust/ADAGP

Ira Nowinski, The painting Le Beau Temps, with photographs, objects,

and lithograph of L’Observatoire, 1983, Gelatin silver print. Copyright
2007 Man Ray Trust/ADAGP

Ira Nowinski, Surrealist library detail, 1983, Gelatin silver print.

Copyright 2007 Man Ray Trust/ADAGP

The Studio of Man Ray by Ira Nowinski at the Magnes

Page 4 of 5
Ira Nowinski, Photograph of Juliet and Man Ray, Los Angeles circa 1940s.
Chess board painting, 1983, Giclée print on canvas (2007) . Copyright 2007
Man Ray Trust/ADAGP

Ira Nowinski, Rue Férou façade, 1983, Gelatin silver print. Copyright 2007
Man Ray Trust/ADAGP

The Studio of Man Ray by Ira Nowinski at the Magnes

Page 5 of 5
Ira Nowinski
Le Violon d’Ingres with variation of It’s Springtime and parts of
various objects
1983
Gelatin silver print
Courtesy of Kenneth Paige

Le Violon d’Ingres was a print after the original 1924 image. This is
perhaps Man Ray’s most celebrated photograph, an image of Kiki of
Montparnasse. The title is a multi-layered pun. The French expression
“Violon d’Ingres” means “artistic hobby” and derives from Ingres’
enthusiasm for the violin. Man Ray has transformed Kiki into an Ingres-
like odalisque and through a simple graphic device has simultaneously
evoked the form of a violin.

Ira Nowinski
Various objects on Le Beau Temps wall
1983
Gelatin silver print
Courtesy of Kenneth Paige

Ira Nowinski
Leather shadow
1983
Gelatin silver print
Courtesy of Kenneth Paige

Leather Shadow is a limited edition object executed in 1971. The

illusion of the wooden spoon’s shadow is physically achieved with a
black-leather cutout.

Ira Nowinski
Mezzanine table with lamp, pipes, antique iron, and Café Man Ray
1983
Giclée print on canvas (2007)
Courtesy of Kenneth Paige

Café Man Ray is made after the original object (1948). While living in
Hollywood, Man Ray met the young gallery owner William Copley,
who promoted the work of Surrealists. Copley organized an exhibition
of Man Ray’s works with a catalogue titled To Be Continued Unnoticed
Unnoticed.
The original object served as a doorknocker at the opening night of the
exhibition on December 13, 1948.
Ira Nowinski
Back shelf wall near kitchen with matchbox picture
1983
Gelatin silver print
Courtesy of Kenneth Paige

In 1964 Man Ray made a small number of matchboxes mounted with

photographs of many of his well-known images. Some were used by the
artist to store small items in his studio on rue Férou, others were offered as
gifts to visitors to the studio when they asked for a light for their cigarette.

Ira Nowinski
Surrealist library, with handmade book by Brassaï
1983
Gelatin silver print (2002)
Courtesy of Kenneth Paige

Ira Nowinski
Darkroom with negative boxes and box of Agfa portrait film
1983
Gelatin silver print
Courtesy of Kenneth Paige

Ira Nowinski
Danger Haute Tension, hand painted sign on vestibule door
1983
Gelatin silver print
Courtesy of Kenneth Paige

Ira Nowinski
Couch with Henri Cartier-Bresson’s photograph of Marcel Duchamp
and Man Ray
1983
Gelatin silver print
Courtesy of Kenneth Paige
Ira Nowinski
Couch with Le Manche dans la Manche and various objects
1983
Gelatin silver print
Courtesy of Kenneth Paige

This object (1967) was made after the original (1921) consisting of a
hammer inserted in a mil bottle. Le Manche dans la Manche is a play on
words in French, literally meaning the handle in the sleeve, which has
obvious sexual connotations.

Ira Nowinski
Bedroom with L’Observatoire and two paintings, one of Juliet
1983
Gelatin silver print
Courtesy of Kenneth Paige

A l’heure de l’observatoire—les amoureux is a painting (circa 1935),

formerly in the collection of William Copley, was sold at Sotheby’s in
New York in 1979, establishing a record price for a work by Man Ray.

Ira Nowinski
Shelf wall with various objects and drawings
1983
Gelatin silver print
Courtesy of Kenneth Paige

Ira Nowinski
Bedroom with L’Observatoire and two paintings, one of Juliet
1983
Gelatin silver print
Courtesy of Kenneth Paige

Ira Nowinski
Man Ray’s self-portrait
1983
Gelatin silver print
Courtesy of Kenneth Paige
Ira Nowinski
Mezzanine with tack box, various nails
1983
Gelatin silver print
Courtesy of Kenneth Paige

Ira Nowinski
Objects on shelf wall
1983
Gelatin silver print
Courtesy of Michael Dawson Gallery

Ira Nowinski
Books, Rome Prize, Hommage a Sade
1983
Gelatin silver print
Courtesy of Michael Dawson Gallery

Hommage a Sade is a limited-edition object consisting of stained glass

mounted in bronze. The present object, which was mounted by the artist
in a standing frame, was placed in a prominent corner of the studio,
where light was projected from behind.

Ira Nowinski
Hand and mailbox
1983
Gelatin silver print
Courtesy of Michael Dawson Gallery

Ira Nowinski
View of studio from mezzanine, with parachute that covered
main space
1983
Gelatin silver print
Courtesy of Kenneth Paige
Ira Nowinski
Back wall with stairs to the mezzanine. Parachute attached
to the mezzanine covers main studio.
1983
Gelatin silver print
Courtesy of Michael Dawson Gallery

Ira Nowinski
Juliet in heart-shaped glasses
1983
Gelatin silver print
Courtesy of Kenneth Paige

Ira Nowinski
The painting Le Beau Temps, with photographs, objects,
and lithograph of L’Observatoire
1983
Gelatin silver print
Courtesy of Kenneth Paige

Man Ray painted Le Beau Temps in 1939, immediately before the

outbreak of World War II. The Surrealist fascination with the world of
dreams coincided with Man Ray’s own habit of keeping a sketchbook
by his bed to record his ideas immediately before sleeping and on
awakening. Le Beau Temps (“Fair Weather”) is a compilation of eight
separate nightmares from which he had been suffering.

Ira Nowinski
Rue Férou façade
1983
Gelatin silver print
Courtesy of Kenneth Paige

Ira Nowinski
Surrealist library detail
1983
Gelatin silver print
Courtesy of Michael Dawson Gallery
Man Ray
Indicateur II
1969
Metal
Courtesy of Stephen Wirtz Gallery

Indicateur II (1952) consists of two sheets of wood in the form of

triangles joined together at right angles, suggesting the image of a
geometric mask. Based on the original wooden object, this variant in
metal was executed in an edition of twenty-five.

Lou Jacobs Jr.

Portrait of Man Ray in his Los Angeles studio
1949
Gelatin silver print
Courtesy of California State Library, Sacramento

Lou Jacobs, Jr. (b. 1921) grew up in Pittsburgh, PA and graduated from
Carnegie Mellon University, with a major in industrial design. After
serving during World War II, he moved to California where he studied
photojournalism at the Art Center College of Design in Los Angeles.
He worked on a series of portraits of Southern California artists during
1949-50. Man Ray is photographed in his studio on Vine Street in Los
Angeles, where he and Juliet Browner lived for ten years.

Lou Jacobs Jr.

Man Ray’s studio, Hollywood, CA
1949
Gelatin silver print
Courtesy of Michael Dawson Gallery

Man Ray
Le pain peint (Book with Blue Bread)
Alexandre Iolas, 1972
Courtesy of Stephen Wirtz Gallery

Based on an actual baguette which Man Ray painted blue in 1958, titled
Pain Peint—Blue Bread: Favorite Food for Blue Birds. In addition to the
play on words in the title, Man Ray likened the French title Pain Peint to
the sirens of a fire engine.
Man Ray
I 50 Volti Di Juliet (The 50 Faces of Juliet)
Milano, Gabriele Mazzotta, 1981
Courtesy of Ira Nowinski

Ira Nowinski
Photograph of Juliet and Man Ray, Los Angeles circa 1940s in
front of chess board painting
1983
Giclée print on canvas (2007)
Courtesy of Kenneth Paige

Ira Nowinski
Photograph of Indicateur II, 1969 [Indicateur in italics]
1983
Gelatin silver print
Courtesy of Michael Dawson Gallery

Ira Nowinski
Various objects, Leather shadow
1983
Gelatin silver print
Courtesy of Kenneth Paige