Reproduction Technology. From Replica to Brand

Authors

DOI:

https://doi.org/10.21638/spbu15.2023.202

Abstract

The article is devoted to the analysis of the works by the French artist of American origin Man Ray. The objects of the first New York period were studied, later they repeatedly have been reproduced by the author. We consider prints of non-preserved objects as the author’s version of a photographic readymade. Reproductions and replications have become an important part of the artist’s strategy in Paris and especially in America. These practices represent an example of the branding technology traditionally associated with Andy Warhol. Man Ray invented it long before the commercialization of pop art. The idea as the main artistic value, regardless of the method of its implementation and originality, becomes not only the basis of conceptual art, but also the quintessence of the phenomenon that we call an art brand. We define it as an ideology that includes the characteristics of the artist’s personality, his work and general strategies, including the marketing ones. Ray’s experiments as a modernist, artist and photographer significantly expanded the spectrum of theoretical and practical issues related to the relationship between art and commerce in an era when the aesthetic value of a work depended not only on the conditions and on circumstances of the order, but on the novelty and radicality — the time when the experiments have being absolutized. In the avant-garde, this criterion has become an indicator of the artist’s talent and success. If we define a brand as a mental cover of a product, then the application of this term to a work of art is quite justified, especially since the 20th century approved the priority of design methods of creativity, the cognitive value of an artwork became more important than the retinal one. The artist required a certain amount of ingenuity to remain a radical and be part of the market system, transforming the symbolic value of his work into an economic one. Seeming independence from the artistic conjuncture turned into a skillful balancing act between creativity and commerce.

Keywords:

Man Ray, ready-made, photographic prints, replica, branding technology, reproduction technology, artistic brand

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References

Литература

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8. Baldwin, Neil. Man Ray. American Artist. New York: Da Capo Press, 2000.

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13. Jean-Hubert, Martin, ed. Man Ray: Objets de mon affection. Paris: Philippe Sers, 1983.

14. Man Ray Trust. Accessed October 11, 2022. http://www.manraytrust.com.

15. Grossman, Wendy A. Man Ray, African Art, and the Modernist Lens. Washington: International Arts and Artists; University of Minnesota Press, 2011.

16. Ray, Man. Self Portrait. Boston: Little, Browm & Company, 1963.

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20. Naumann, Francis. “Man Ray. 1908–1921. From an art in two demenshions to the higher dimension of ideas”. In Foresta, M. St. Foster, B.Lkuver, J.Martin, and Fr. Naumann. Perpetual Motif. The Art of Man Ray, 51–89. New York; London; Paris: Abbeville Press, 1989.

21. Аверьянова, Ольга. “Ман Рэй и дадаизм: ассамбляж, живопись, фотография, 1910-е годы”. Вестник Московского университета. Серия 8. История, no. 5 (2017): 137–52.

22. Man, Ray. Unconcerned but not Indifferent. Ed. by Noriko Fuku, John Jacob. La Fábrica, 2010.

23. Bergin, Paul. “Andy Warhol: The artist as Machine”. Art Journal 26, no. 4 (1967): 359–63.

24. Аверьянова, Ольга. “Ман Рэй. Искусство стратегий”. Art & Cult, no. 32 (4-2018): 142–57.

25. Аверьянова, Ольга. “От Ман Рэя к Энди Уорхолу. Коды самоидентификации”. Вестник РГГУ. Серия: Философия. Социология. Искусствоведение, no. 3/13 (2018): 143–54.

26. Аверьянова, Ольга. “‘Автопортрет’ Ман Рэя как лингвистическая конструкция бренда MAN RAY”. Art & Cult, no. 30 (2-2018): 89–98.

References

1. Beshty, Walead, ed. Picture Industry: A Provisional History of the Technical Image, 1844–2018. Zürich: JRP Ringier, 2019.

2. Bocock, Robert. Consumption. London: Routledge, 1993.

3. Aver’ianova, Ol’ga. “Man Ray, Artist and Photographer: Problems of Identity”. Izvestiia Ural’skogo federal’nogo universiteta. Ser. 2: Gumanitarnye nauki 20, no. 1/172 (2018): 198–210. (In Russian)

4. Aver’ianova, Ol’ga. “Marcel Duchamp, Man Ray, Rrose Sélavy: Photography, Ready-Made, Brand”. Vestnik Tomskogo gosudarstvennogo universiteta. Kul’turologiia i iskusstvovedenie, no. 3/31 (2018): 5–21. (In Russian)

5. Phillips, Sandra. “Themes and Variations: Man Ray’s Photography in the Twenties and Thirties”. In Foresta, Merry. Perpetual Motif: The Art of Man Ray, 175–233. Washington, D.C.: National Museum of American Art, Smithsonian Institution; New York: Abbeville Press, 1988.

6. Benjamin, Walter. Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Rus. ed. Transl. by A.Romashko. Мoscow: Medium Publ., 1996. (In Russian)

7. Martin, Henry. “Man Ray spirals and indications”. Art International 15. no. 5 (May 20, 1971): 60–7.

8. Baldwin, Neil. Man Ray. American Artist. New York: Da Capo Press, 2000.

9. “Man Ray in an interview with Arturo Schwarz”. This is not for America. Arts Magazine 51, no. 9 (1977): 116–21.

10. Fuller, John. “Man Ray. Review of exhibition at Institute of Contemporary Arts. Virginia, June, 1975”. Connoisseur, no. 189 (1975): 176–7.

11. Janus. Man Ray: Photographs Image. Woodbury, NY: Barron’s, 1980.

12. Schwarz, Arturo. Man Ray: The Rigour of Imagination. New York: Rizzoli, 1977.

13. Jean-Hubert, Martin, ed. Man Ray: Objets de mon affection. Paris: Philippe Sers, 1983.

14. “Man Ray Trust”. Accessed October 11, 2022. http://www.manraytrust.com.

15. Grossman, Wendy A. Man Ray, African Art, and the Modernist Lens. Washington: International Arts and Artists; University of Minnesota Press, 2011.

16. Ray, Man. Self Portrait. Boston: Little, Browm & Company, 1963.

17. Foresta, Merry. “Introduction”. In Foresta, M. St. Foster, B.Lkuver, J.Martin, and Fr. Naumann. Perpetual Motif. The Art of Man Ray, 9–51. New York; London; Paris: Abbeville Press, 1989.

18. Herbert, Robert, Eleanor Apter, and Elise Kenney, ed. The Societe Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonne. New Haven: Yale University Press, 1984.

19. “Man Ray to Arturo Schwarz. Paris 12 January 1971”. In Man Ray: Writings on Art, ed. by Jennifer Mundy. Los Angeles: Getty Publications, 2016.

20. Naumann, Francis. “Man Ray. 1908–1921. From an art in two demenshions to the higher dimension of ideas”. In Foresta, M. St. Foster, B.Lkuver, J.Martin, and Fr. Naumann. Perpetual Motif. The Art of Man Ray, 51–89. New York; London; Paris: Abbeville Press, 1989.

21. Aver’ianova, Ol’ga. “Man Ray and Dadaism: Assemblage, Painting, Photography, 1910s”. Vestnik Moskovskogo Universiteta. Seriia 8. Istoriia, no. 5 (2017): 137–52. (In Russian)

22. Man, Ray. Unconcerned but not Indifferent. Ed. by Noriko Fuku, John Jacob. La Fábrica, 2010.

23. Bergin, Paul. “Andy Warhol: The artist as Machine”. Art Journal 26, no. 4 (1967): 359–63.

24. Aver’ianova, Ol’ga. “Man Ray. The Art of Strategies”. Art & Cult, no. 32 (4-2018): 142–57. (In Russian)

25. Aver’ianova, Ol’ga. “From Man Ray to Andy Warhol. Codes of Identity”. Vestnik RGGU. Seriia: Filosofiia. Sotsiologiia. Iskusstvovedenie, no. 3/13 (2018): 143–54. (In Russian)

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Published

2023-06-29

How to Cite

Averyanova, O. N. (2023). Reproduction Technology. From Replica to Brand. Vestnik of Saint Petersburg University. Arts, 13(2), 243–254. https://doi.org/10.21638/spbu15.2023.202

Issue

Section

Visual arts