• ART BASEL MIAMI BEACH 2025

  • Laurie Simmons, Woman/Heels (Floating on Back), 1981 [detail]

    Laurie Simmons, Woman/Heels (Floating on Back), 1981 [detail]

  • Art fair
    December 3–7, 2025
    Location
    Booth J8
    Miami Beach Convention Center

     

    Edwynn Houk Gallery marks our 20th year of exhibiting at Art Basel Miami Beach, celebrating participation since 2005, with a presentation anchored by rare and historically significant works by Man Ray. The booth brings together three exceptional vintage artworks that illuminate the range of his innovation: the original light bulb Rayograph from the landmark Électricité commission, a striking solarized self-portrait, and a complete Champs délicieux portfolio that captures the earliest public expression of his revolutionary cameraless technique. Seen together, these works offer a focused view of Man Ray’s lasting impact on the development of modern photography.

    Building on this foundation, the presentation highlights the dialogue between Man Ray’s breakthroughs and the achievements of the early masters who shaped the language of the medium. Works by Alfred Stieglitz, Tina Modotti, Manuel Álvarez Bravo, and André Kertész trace the evolution of early modernist experimentation and the formal innovations that defined photography’s first great artistic movements. Photographs by Robert Mapplethorpe, Laurie Simmons, Robert Longo, Joel Sternfeld, and Stephen Shore demonstrate how these ideas were transformed in the late twentieth century through expanded approaches to portraiture, constructed imagery, and the American landscape.

    Works by Abelardo Morell, Ron Norsworthy, Matthew Pillsbury, Robert Polidori, Valérie Belin, Sebastiaan Bremer, Gregory Crewdson, Sissi Farassat, Sally Mann, and Lee Shulman & The Anonymous Project round out the presentation with contemporary perspectives that push the medium forward through inventive processes, conceptual framing, and new visual languages.


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    SPOTLIGHT ON

  • MAN RAY Rayograph [Électricité], 1930 This Rayograph stands as one of the most iconic in Man Ray's body of cameraless...

     

    MAN RAY

    Rayograph [Électricité], 1930

     

    This Rayograph stands as one of the most iconic in Man Ray's body of cameraless photographs. Man Ray transforms the ordinary bulb into an object of cosmic force: a lone, man-made satellite suspended in a speckled universe. Achieved in 1930, the artwork helps define the visualization of the electric, modern age and stands as a masterpiece of Surrealist experimentation.

     

    This unique Rayograph is the source image for the first plate in his legendary Électricité portfolio, a group of 10 photogravures commissioned by a Parisian electricity company for a marketing campaign. Man Ray's selection of the light bulb as the first image in the portfolio reflects the artwork's premiere embodiment of his surrealistic take on modernity.

     

    Hidden from public view for nearly eight decades, the original photogram on view at this year's edition of Art Basel Miami Beach surfaced only in the late 1990s, discovered in a brown leather folio in a French attic. Soon after, it entered a private collection, where it has remained with virtually no public exposure. Its presentation at Art Basel Miami Beach offers a rare opportunity to encounter this significant document of early modern photographic innovation. The presentation coincides with Man Ray: When Objects Dream at The Metropolitan Museum of Art, providing a complementary perspective on the artist’s most experimental work.

     

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    MAN RAY

    Autoportrait, Solarization, 1930
  • man ray

    Champs Délicieux, 1922

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    Man Ray introduced the Rayograph to the public in 1922 with Champs délicieux (Delicious Fields), a groundbreaking portfolio of twelve cameraless photographs that signaled a radical new direction for the medium. He described the process as expressing “a state of mind,” and its debut was met with an immediate and unusually unified response from the avant-garde. Artists, poets, and critics recognized that Man Ray had opened a category entirely his own, extending photography beyond representation into an autonomous art form. Jean Cocteau contributed a letter of admiration to accompany its release, and Tristan Tzara announced the work in one of his single-issue Dada periodicals, reflecting the sense among his contemporaries that the Rayograph marked an essential breakthrough.

     

    Man Ray issued Champs délicieux as a sewn portfolio of twelve meticulously reproduced images in an edition of forty, each accompanied by Tzara’s preface. Complete portfolios are held by major institutions, including:

     

    Museum of Modern Art, New York
    Centre Pompidou, Paris
    Art Institute of Chicago
    The Metropolitan Museum of Art, New York (promised gift)
    The J. Paul Getty Museum, Los Angeles


  • rOBERT POLIDORI Portrait of Marie-Antoinette de Lorraine-Habsbourg, by Jean-Baptiste Charpentier, 1er Antichambre du Dauphin, Corps Central - RdC, Versailles, 2007

    rOBERT POLIDORI

    Portrait of Marie-Antoinette de Lorraine-Habsbourg, by Jean-Baptiste Charpentier, 1er Antichambre du Dauphin, Corps Central - RdC, Versailles, 2007

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    ROBERT MAPPLETHORPE

    Invitation to Light Gallery opening, January 6, 1973
    • Robert Longo Men in the Cities
      Robert Longo
      Untitled (Men in the Cities #3), 1977-1983
    • Robert Longo Men in the Cities
      Robert Longo
      Untitled (Men in the Cities #14), 1977-1983
  • GREGORY CREWDSON Untitled [Worthington Street], 2006

    GREGORY CREWDSON

    Untitled [Worthington Street], 2006

    • Laurie Simmons Walking Purse with legs
      Laurie Simmons
      Walking Purse, 1989
    • Sally Mann Night Blooming Cereus, 1988
      Sally Mann
      Night Blooming Cereus, 1988
    • Tina Modotti Campesinos (Worker's Parade), 1926
      Tina Modotti
      Campesinos (Worker's Parade), 1926
    • typewriter with letter by Tina Modotti
      Tina Modotti
      Mella's Typewriter, 1928
    • Manuel Álvarez Bravo Political Rally, c. 1946
      Manuel Álvarez Bravo
      Political Rally, c. 1946
  • André Kertész Distortion #200, 1933

    André Kertész

    Distortion #200, 1933
    • Joel Sternfeld, car in ravine below houses and hills
      Joel Sternfeld
      After a Flash Flood, Rancho Mirage, California, July 1979
    • Gregory Crewdson Untitled (Ophelia), 1999
      Gregory Crewdson
      Untitled (Ophelia), 1999
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    LAURIE SIMMONS

    Woman/Heels (Floating on Back), 1981
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    sissi farassat

    Alice, 2025

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    Valérie Belin

    Eleanor, 2025

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    Ron Norsworthy

    Trying to Remember the Future, 2025
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    ABELARDO MORELL

    Colored Paper Abstraction #4, 2025
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    MATTHEW PILLSBURY

    Hanami #16, Chidorigafuchi, Thursday, April 3rd, 2014

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    Inquire about artworks at 

    Art Basel Miami Beach 2025