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ofManRaynearthegalleryentranceandanintroductorypanellettingvisitorsknowwhothisartistwas.BornEmmanuelRadnitzkyinPhiladelphiain1890ManRayworkedacrossthedisciplinesofphotographyfilmpaintingandsculptureandisdescribedintermslikemultifariousartistandpolyartist.HeparticipatedintheNewYorkDadaistmovementin1915andafterhismovetoParisin1921joinedthesurrealistswhoenthusiasticallyembracedtheartofAfricaandotherpre-industrialcultures.AlthoughhesbestknownforhisexperimentalportraitsofwomenManRayproducedover50photographsfeaturingAfricanOceanicandPre-Columbianartduringthe1920sand30s.SpeakingbyphonefromherhomeinCollegeParkMarylandneartheUniversityofMarylandwheresheisanadjunctprofessorGrossmanexplainstheappealofnonwesternarttoavant-gardeartistsofthetime.Artistswerelookingforinnovativewaysofrepresentingtheworldandwerethinkingthatwesternclassicaltraditionshadprettymuchexhaustedthemselvesshesays.TheunprecedentedslaughteranddestructionoftheFirstWorldWarandtheassociationwithmechanizationandindustrializationdeeplydisillusionedthem.BasicallythemottooftheDadaistsandsurrealistswasIfthisiswhatcivilizationbringsuswerejectit.Insteadtheylookedtopre-industrialculturestorepudiatewesternhierarchiesandvaluesGrossmancontinues.TheyhadtheperceptionthattheseobjectshadsomekindofspiritualcorethattheydemonstratedawaytobreakwiththerationalityoftheEnlightenmentandgomoretowardstheunconsciousandthespiritual.Grossmanwillbeintownfortheexhibitionopeningandtodelivertwopublictalks.ForinformationaboutthevariedprogrammingthataccompaniestheexhibitionincludingfilmsmusicandperformanceartgototheMOAwebsite.Andmindtheencirclingfog.Head-shapedcupmbwoongnteyKubaDemocraticRepublicofCongoLate19th-early20thcenturyPhotoKwakuOfori-AnsaJamesLatimerAllenPortraitofJamesLesesneWellsc.1930CharlesSheelerUntitledFangReliquaryFigurec.1916-17TheLaneCollectionMuseumofFineArtsBostonManRayUntitledPendependantandChokwewhistle19332010ManRayTrustArtistsRightsSocietyARSNewYorkADAGPParis