#Charles Ray

[zauddu]

Charles Ray perfomer 1973

[katgecs]

Untitled by Charles Ray, 1973

[woundgallery]

Charles Ray, Untitled, 1973, black and white photograph, 27 × 40 inches inches. Courtesy of Feature.

[ccarygrant]

LADIES SHOULD LISTEN (1934) dir. Frank Tuttle

[longlistshort]

Charles Ray “Family Romance”, 1993, and Ashley Bickerton “F.O.B.:Tied (White)”, 1993/2018

Charles Ray “Family Romance”, 1993

Maurizio Cattelan “WE”, 2010

Tishan Hsu, “mammal-screen-green-2”, 2024

Work by Josh Kline

“Untitled”, 2008-9, and “Two Breasts”, 1990, by Robert Gober

Mike Kelley, “Brown Star”, 1991 (left) and “The Judge”, 2018, by Jana Euler (painting on right)

Wanghechi Mutu, “One Cut”, 2018, (center sculpture); photographs by Cindy Sherman, 2010/2023

“Pep Talk”, 2024, by Cajsa von Zeipel and Jamian Juliano-Villani, “Women”, 2024, (painting on right)

Post Human, the current group exhibition at Jeffrey Deitch’s Los Angeles location, continues an artistic investigation of humanity that began with the 1992 exhibition of the same name. Some of the over forty artists (and even some of the works) were in the previous iteration, but now their work is placed alongside others made more recently. Seeing them together offers viewers a chance to  contemplate the shifts and continuations in culture, technology, and what it means to be human.

From the gallery-

“Post Human was virtually a manifesto trumpeting a new art for a new breed of human,” wrote the art historian and curator Robert Rosenblum discussing the impact of the exhibition in the October 2004 issue of Artforum.

In 1992, Post Human, curated by Jeffrey Deitch, brought together the work of thirty-six young artists interested in technological advancement, social and aesthetic pluralism, and new frontiers of body and identity transformation. Through their art, these artists were exploring the same questioning of traditional notions of gender, sexuality and self-identity that was—and still is—taking place in the world at large. Capturing a developing social and scientific phenomenon, Post Human theorized a new approach to the construction of the self and interpretation of what defines being human. The exhibition set the agenda for the 1990s, and its influence on artists and philosophers led to a new field of academic study.

In her book Posthuman Feminism (2022), the philosopher and feminist theoretician Rosi Braidotti credits Deitch for capturing “the avant-garde spirit of the age by foregrounding the role of technology in blurring binary boundaries between subjects and objects, humans and non-humans.” She adds, “Post Human showed also that art assumed a much more central role as it merged with science, computerization and biotechnology in further re-shaping the human form and perfecting a flair for the artificial.”

The catalogue of the 1992 exhibition, with its visual essay and innovative design by the late Dan Friedman, also proved lasting relevance. Deitch’s influential essay predicted many of the scientific and sociological shifts that have since shaped our cultural and social environment, even the pandemic.

More than thirty years later, Post Human at Jeffrey Deitch, Los Angeles, revisits the theme of the exhibition, bringing the discourse into the present. The show includes several of the key figures who participated in the 1992 exhibition in dialogue with some of the most interesting artists continuing the exploration of these themes today. In keeping with the social and technological trends that inspired it, the interest in figuration of the original artists and the younger generations presented in the show is conceptual rather than formal.

Much of the then-new figurative work was descriptive of the “real” world but cannot, in fact, be called “realistic” in the conventional sense. That is because so much of the “real” world the artists were reacting to had become artificial. With the concept of the real disintegrating through an acceptance of the multiplicity of reality models and the embrace of artificiality, Realism as it was once known was no longer possible. This new figurative art may have actually marked the end of Realism rather than its revival.

Fully integrated into our pop psychology, the term “posthuman” is now used in everyday conversations and has come to primarily identify with the trope of the cyborg. This exhibition, like the 1992 show, however, examines multiple declinations and aspects of the postmodern construction of personality and the engineering and transcendence of the human body. The artists in the exhibition embrace notions of plurality, metamorphosis and multi-beingness. Cyber-futuristic, surgically improved, commodified, stereotyped, and politicized, the “cultured body” lends itself to reflect on a variety of concerns that define our age.

Several works in the exhibition will embrace the biometrical aestheticization of the human body to address the decay paranoia, the social conflict over genetic engineering and the use of biotechnologies, and the conversation around the limits of “natural” life.” Artists have long engaged with the threats of biometric surveillance, the possibility of virtual reality overtaking our physical one, the accelerating real-time consumption of experience, and the automation of the workforce. As AI’s ability to fulfill our creative and specialized needs has reached mass fruition, artists are confronting the impact of what was once considered speculative science fiction, an everyday reality.

Post Human was first presented at FAE, Musée D’art Contemporain, Pully/Lausanne (June 14–September 13, 1992) and traveled to Castello di Rivoli—Museo d’Arte Contemporanea, Rivoli/Turin (October 1–November 22, 1992), Deste Foundation, House of Cyprus, Athens (December 3, 1992–February 14, 1993), Deichtorhallen Hamburg (March 12–May 9, 1993), Israel Museum, Jerusalem (June 23–October 10, 1993). A number of the works shown in 1992-1993 are now in international museum collections. Matthew Barney’s REPRESSIA (decline) (1991) is now in the collection of LACMA, where it was on view in 2023. Posthumanism has since been the subject of countless books, movies and high-profile exhibitions.

Artists in the exhibition: Isabelle Albuquerque, Matthew Barney, Ivana Bašić, Frank Benson, Ashley Bickerton, Maurizio Cattelan, Chris Cunningham, John Currin, Alex Da Corte, Olivia Erlanger, Jana Euler, Rachel Feinstein, Urs Fischer, Pippa Garner, Robert Gober, Hugh Hayden, Damien Hirst, Tishan Hsu, Pierre Huyghe, Anne Imhof, Alex Israel, Arthur Jafa, Jamian Juliano-Villani, Mike Kelley, Josh Kline, Jeff Koons, Paul McCarthy, Sam McKinniss, Mariko Mori, Takashi Murakami, Wangechi Mutu, Cady Noland, Charles Ray, Cindy Sherman, Kiki Smith, Hajime Sorayama, Anna Uddenberg, Cajsa von Zeipel, Jeff Wall, Jordan Wolfson, and Anicka Yi

This show closes Saturday, 1/18/25.

[holy-skully]

Recuerdo que hace algún tiempo publiqué un dibujo de Nica con un estilo "anime" y decidí dibujar a Charles con ese mismo estilo

[collectionarchive]

by Charles Ray

source: collectionarchive.tumblr.com

[luckyacid]

Charles Ray Future Fragment on a Solid Base, 2011 Solid aluminum 82¾ × 48 × 36 in

[couldtheyescortelliewilliams]

[cc-kk-yy]

an longtime favorite of mine

“Some critics have read Ray’s gesture in Plank Piece as a similar comment on the dominance of minimalism in the 1960s (see, for example, Nittive and Ferguson 1994, p.17). As the geometric form pins the artist to the wall, physical restriction comes to represent aesthetic restraint. In this reading Plank Piece acts as a bodily intervention in minimalism.”

[gatutor]

Lydia Knott-Charles Ray "Scrap iron" 1921, de Charles Ray.

[paintingafterpainting]

Charles Ray

A copy of ten marble fragments of the Great Eleusinian Relief (2017), machined aluminum

[postcard-from-the-past]

Corinne Griffith and Charles Ray on a vintage postcard

[bovvv]

New profile pic is Boy by Charles Ray (1992) at the Art Institute of Chicago.

[gregdotorg]

"If ghosts existed, would they haunt the actual substance of a place or object? Or would the object’s topology, geometry, or shape be enough to hold the ghost? Unpainted Sculpture began as an investigation into the nature of a haunting. I studied many automobiles that were involved in fatal collisions. Eventually I chose a car that I felt held the presence of its dead driver."

Charles Ray made Unpainted Sculpture in 1997, a monochrome light grey (primer) replica in fiberglass of a wrecked Pontiac Grand Am. It's in the collection of the Walker Art Center in Minneapolis, but it's his thing about ghosts that reminded me of it.