查尔斯·雷
צ’ארלס ריי
チャールズレイ
찰스 레이

Bench

source: momaorg
American sculptor. He studied for his BFA at the University of Iowa, Iowa City, graduating in 1975, then for his MFA at the Mason Gross School of Art, Rutgers University, NJ, graduating in 1979. Initially influenced by sculptors such as Anthony Caro, by including his own body in his works he made them more like documented performances. In Plank Piece I–II (1973; see 1994 exh. cat., p. 30), for example, he pinned his body to the wall with a large piece of wood. This literalism was manifested in another early photo work, All My Clothes (1973; Los Angeles, CA, Mus. Contemp. A.), in which he presented himself dressed in each of his outfits. By the early 1980s Ray extended this absurdity to generate a more deadpan manipulation of Minimalist iconography. In Ink Box (1986; Newport Beach, CA, Orange Co. Mus. A.), a large cube is filled to the brim with ink, giving the illusion of a solid cube. In the 1990s he used mannequins in his sculptures, for example in Family Romance (1993; E. and P. Norton, priv. col. see 1998 exh. cat., pp. 38–9), where mom, dad, brother and sister are all presented at the same height (the height of the artist), so that the nuclear family becomes a grotesque comment on the illusion of ‘normality’. Ray takes conventions, whether they are from art history or the shop window, and uses them to re-present identity and perception as coded assumptions that can be destabilized with disturbing ease by his deadpan reconfigurations.
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source: wtl21blogspot
Charles Ray is a Los Angeles-based sculptor, known for his strange and enigmatic sculptures, which draw the viewer’s judgments into question in jarring and unexpected ways. His wide ranging works tackle themes of body image, childhood and the abstract.
Ray’s work is difficult to classify, Style, materials, subject and scale all vary greatly. However connections can be drawn to ancient themes and reference points. The standing male nude of ‘Young Man’ echoes the pose of the ‘Kritios Boy’ the early Classical Greek sculpture. A further example is “Shoe Tie,” a nude self-portrait of the artist crouching down to tie a nonexistent shoe, which echoes the Roman ‘Boy With Thorn’ bronze sculpture, of a boy withdrawing a thorn from the sole of his foot.
Christopher Knight in the Los Angeles Times wrote that Ray’s “career as an artist…is easily among the most important of the last twenty years.
He plays with his subjects’ proportions, and presents them within the vulnerable setting of the gallery space. Ray invites you the viewer to judge and examine what is before you, and in turn draws on the individual’s critical point of view. Creating a purely individual and unique response to his work. Charles Ray’s work has a subtle uneasiness to it. His pieces alienate his viewers, often striking an uncomfortable voyeurism with the observer.
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source: emnomedosartistasorgbr

Para Charles Ray a participação física no trabalho é um elemento importante. Muitas vezes, seu próprio corpo participa da obra. De fato, o corpo é objeto central em seu trabalho e, por meio de experimentações com ele, Ray busca proporcionar ao espectador um momento místico, como o causado por um mágico com seus truques. Fazem parte de suas criações as chamadas esculturas performáticas, que usam a ação física para questionar a ideia de escultura. O artista não cria nem se apropria de formas existentes, ele manipula figuras e cria ready-mades alterados que brincam com o peso, o tamanho e a percepção, causando grandes surpresas.
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source: arteseanpblogspot

Charles Ray (1963) Nasceu em Chicago. Graduou-se na University of Iowa e fez o Mestrado na Mason Gross Scholl. Foi aluno do escultor Roland Brener e sofreu influência de Anthony Caro e David Smith. Vive e trabalha em Los Angeles. Paticipou da Documenta IX e da Bienal de Veneza em 1993 e 2003. Por quatro vezes integrou a Whitney Biennial. É considerado um dos maiores escultores contemporâneos. É representado pela Matheus Mark Gallery.
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source: masdearte

La obra escultórica del estadounidense Charles Ray (que nació en 1953 en Chicago y vive en Los Ángeles) desde 1997 hasta el último año. No se trata por tanto de una retrospectiva sino de un examen a su producción de las últimas dos décadas y cada una de las quince piezas mostradas requiere prácticamente de una sala propia para contemplarse adecuadamente.

Considerado uno de los escultores más influyentes del panorama actual, Ray, al igual que Jeff Koons y Katharina Fritsch, se ha servido de la escultura figurativa para elaborar a partir de ella un lenguaje nuevo y personal. Uno de sus trabajos más conocidos, presente en Basilea, es Niño con rana (2009), una pieza de acero pintada de blanco que se instaló en la Punta della Dogana veneciana entre ese año y 2013 y sembró la polémica por su impacto en un entorno retratado por Canaletto o Guardi. De gran tamaño, sostenía en su mano derecha una rana y se orientaba hacia la Plaza de San Marcos.

Conocidos son también su tractor de aluminio y el camión de bomberos Firetruck (1993), que pudo verse en la Bienal de Whitney hace once años.

Dispuesto siempre a invitar al espectador a poner en tela de juicio sus percepciones e influido por Anthony Caro, ha trabajado en ocasiones con su propio cuerpo documentando sus actuaciones. En los setenta se adentró en los caminos del Body Art y realizó la conocida Plank Piece I, a medio camino entre esa tendencia y el minimalismo. En sus trabajos posteriores daría cada vez mayor protagonismo a la subjetividad y la presencia humana cedería espacio a juegos escultóricos donde cobraba importancia la relación interna entre los objetos. De aquella época datan autorretratos en serie o maniquíes con el rostro del artista.

Sus proyectos más recientes nos hablan de lo surreal y lo real, lo inesperado y lo cotidiano, y su lenguaje no rehúye sino que venera la ironía. Incorpora referencias al Minimalismo, el Dadaísmo, Fluxus o el arte conceptual.