example, 1,000 Japanese books available for con-
sultation. Library staff is on hand to provide visi-
tors with help and advice, and the catalogue can be
consulted via self-service computer terminals. And
the library also has a selection of CD-ROMS.
Finally, a selection of the most important photo-
graphy magazines is available for consultation.
Films and Videos
TheVide ́othe`quein the Rome ́o Martinez Library
provides access to videos via independent viewing
terminals. It has over 1,000 titles, including film
portraits of photographers, interviews, and series on
historical and aesthetic developments in photogra-
phy. There are also films made by famous photogra-
pher/filmmakers, including Robert Frank, William
Klein, Alain Fleischer, and Raymond Depardon.
The 100-seat Bernard-Pierre Wolff Auditorium
screens videos and films linked to current exhibi-
tions. Public discussions, conferences, and lectures
on the various ways the photographic image is used
also take place here.Other Activities
The ARCP conservation and restoration workshop is
directed by Anne Cartier-Bresson; the workshop’s
essential aim is to restore and preserve the extensive
photographic collections of the various museums,
libraries, and archives belonging to the City of Paris.
Itworkshandinhandwithanumberofresearchand
teaching establishments in France and abroad.
A bookshop, a cafe ́, and a website (http://www.
mep-fr.org) complete the services offered to the pub-
lic. Since the opening approximately 150 exhibitions
have been organised and 50 catalogues published.
Jean-LucMonterossoSeealso:Frank, Robert; Klein, William; Koudelka,
Josef; Museums: Europe; Penn, Irving; Photography
in France; Pierre, et GillesMAN RAY
American
A leading experimental artist of the avant-garde of
Paris during the 1920s, Man Ray was one of the
most formidable Surrealist photographers and was
known, along with La ́szlo ́ Moholy-Nagy, as the
creator of camera-less photography in the modern
era. By the time his work was recognized in the
Museum of Modern Art’s 1936 exhibitionFantastic
Art, Dada, Surrealismit had already been widely
published. His wide-ranging experimental process,
moreover, had already attained significant stature
within Modernist artistic discourse since it had con-
tinued and reinvigorated the debate between paint-
ing and photography begun around the turn of the
twentieth century. As a photographer he created a
number of the iconic images of the century, including
Tearsof 1932 and the portraits of Marcel Duchamp
as his female alter-ego Rrose Selavy of 1920–1921.
Born on August 27, 1890, as Emmanuel Radnitsky
to a Jewish family in Philadelphia, Pennsylvania,
the artist spent most of his youth in Brooklyn,
New York, after his parents moved there in- Having entered high school in 1904, the
young Radnitsky learned freehand and industrial
draughtsmanship. Four years later he was offered
a grant to study architecture only to turn it down,
claiming that the construction of buildings was
not as interesting as creating an interior’s am-
biance. Soon after, Rudnitsky began taking
courses in drawing and water color at the Ferrer
Center. Named after a Spanish anarchist, this
educational institution was devoted to the practice
of libertarian principles.
In 1911, the aspiring artist moved to Manhattan
after meeting Alfred Stieglitz at the 291 Gallery.
However during the spring of the following year,
Rudnitsky moved again to Ridgefield, New Jersey,
where he began work as an advertising draughts-
man. Upon visiting the now-legendary Armory
Show held in New York in 1913, he discovered
the European avant-garde. Although he continued
working as a draughtsman for a publisher of maps
and atlases, he partnered with the poet Alfred
MAISON EUROPE ́ENNE DE LA PHOTOGRAPHIE