&quot;Legendary Photography, painter, and maker of objects and films, Man Ray was on the most versatile and inventive artists of this century. Born in Philadelphia in 1890, he knew the worlds of Greenwich Village in the avant garde era following the 1913 Armory show; Paris in the 1920's and 1930's, where he played a key role in the Dada and Surrealist movements; The Hollywood of the 1940s, where he joined others chased by war from their homes in Europe; and finally, Paris again until his death in 1976. &quot;
For the next 20 years in Montparnasse, Man Ray made his mark on the art of photography . Significant members of the art world, such as James Joyce , Gertrude Stein , Jean Cocteau , Bridget Bate Tichenor ,  and Antonin Artaud posed for his camera.
L.H.O.O.Q. is a work of art by Marcel Duchamp first conceived in 1919. The work is one of what Duchamp referred to as readymades , or more specifically an assisted ready-made. Pioneered by him, the readymade involves taking mundane, often utilitarian objects not generally considered to be art and transforming them, by adding to them, changing them, or (as in the case of his most famous work Fountain ) simply renaming them and placing them in a gallery setting. &quot;Elle a chaud au cul&quot; literally translates into &quot;She is hot in the ass&quot;.  In a late interview (Schwarz 203), Duchamp gave a loose translation of &quot;L.H.O.O.Q.&quot; as &quot;there is fire down below&quot; (in fact the term avoir chaud au cul is slang used in the sense of &quot;to be horny &quot;).
year: 1924 Theme: Nudes Kiki de Montparnasse nude woman from behind turban around the head sound-holes on the back
year: 1922 Theme: Rayographies rayography extract from the album Champs Délicieux (Delicious Fields) - Gun, magnet, key with door-number 37. was an American artist who spent most of his career in Paris, France . Perhaps best described simply as a modernist , he was a significant contributor to both the Dada and Surrealist movements, although his ties to each were informal. Best known in the art world for his avant-garde photography , Man Ray produced major works in a variety of media and considered himself a painter above all. He was also a renowned fashion and portrait photographer. He is noted for his photograms , which he renamed &quot;rayographs&quot; after himself. 
With Jean Arp , Max Ernst , André Masson , Joan Miró , and Pablo Picasso , Man Ray was represented in the first Surrealist exhibition at the Galerie Pierre in Paris in 1925. Works from this period include a metronome with an eye, originally titled Object to Be Destroyed . …
. The painting depicts the mechanistic motion of a nude, with superimposed facets, similar to motion pictures . It shows elements of both the fragmentation and synthesis of the Cubists , and the movement and dynamism of the Futurists
Man Ray , photographed at Gaite-Montparnasse exhibition in Paris by Carl Van Vechten on June 16, 1934
<ul><li>Duchamp </li></ul><ul><li>L.H.O.O.Q. (1919) . </li></ul><ul><li>In L.H.O.O.Q. the objet trouvé (found object) is a cheap postcard reproduction of Leonardo da Vinci's Mona Lisa onto which Duchamp drew a moustache and beard in pencil and appended the title. </li></ul><ul><li>The name of the piece, L.H.O.O.Q. , is a pun, since the letters when pronounced in French form the sentence, Elle a chaud au cul . </li></ul>
Man Ray (1890 –1976) Rayograph "Champs délicieux" n°06 Rayograph (1922)
The original Object to Be Destroyed was created as a readymade in 1923. According to Man Ray, the piece was originally intended as a silent witness in his studio to watch him paint. In 1932 a second version, called Object of Destruction, was published in the avant-garde journal This Quarter , edited by André Breton. This version featured an ink drawing of the Object To Be Destroyed with the following instructions: Cut out the eye from a photograph of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well-aimed, try to destroy the whole at a single blow.
Man Ray: Tribute to Sade: wooden figures on bottle rack (used by Marcel Duchamp as a ready-made)
Contemporary Mixed Media Duchamp: Bottle Rack/Egouttoir (or Porte-bouteilles). 1914/64. Readymade: bottle rack made of galvanized iron. 59 x 37 cm. Original lost. Replica. Private collection.
Man Ray: Elevage de poussière (Dust Breeding) 1920
Man Ray: chessboard pieces, New York 1920 - Paris 1926
Man Ray: The enigma of Isidore Ducasse. year: 1920-1971. Bag, string, umbrella and typewriter. Tribute to Lautréamont, edition 1971
Jump to <ul><li>Contemporary artist and master of collage, film, collage-film, and assemblage: </li></ul><ul><li>Bruce Conner </li></ul>
Wikipedia: Bruce Conner (November 18, 1933 – July 7, 2008) was an American artist renowned for his work in assemblage, film, drawing, sculpture, painting, collage, and photography, among other disciplines…
… His innovative technique of skillfully montaged shots from pre-existing borrowed or found footage can be seen in his first film A MOVIE (1958). His subsequent films are most often fast-paced collages of found footage or of footage shot by Conner; however, he made numerous films, including most notably CROSSROADS, his 30 plus minute meditation on the atom bomb, that are almost achingly deliberate in their pace. Conner was among the first to use pop music for film sound tracks. His films have inspired generations of filmmakers, and are now considered to be the precursors of the music video genre. When told of his impact on music videos, Conner would reply, "don't blame me."
Conner's works are often metamedia in nature, offering commentary and critque on the media — especially television and its advertisements — and its effect on American culture and society. His film REPORT (1967) which features repetitive, found footage of the Kennedy assassination paired with a soundtrack of radio broadcasts of the event and consumerist and other imagery — including perhaps most notably the film's final image of a close-up of a "SELL" button — may be the Conner film with the most visceral impact. REPORT "perfectly captures Conner's anger over the commercialization of Kennedy's death" while also examining the media's mythic construction of JFK and Jackie — a hunger for images that "guaranteed that they would be transformed into idols, myths, Gods.”