Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise: Charles Ray and the Hill Collection
From Amanda Gluibizzi
The Brooklyn Rail reviews Charles Ray’s exhibition at the Hill Art Foundation.
Charles Ray is a slippery artist for me. In the time that I have been engaging with his work, I have often been surprised by what gives me pause, and by what I find myself returning to days, sometimes even years, after I have seen it. So often, it is something slight: witnessing the slow ripples created by the edges of a woman’s fur sleeve as it dragged through Ink Box (1986), installed in Ray’s 1998 Whitney retrospective; observing the sheen of flowing ink in 1987’s Ink Line and becoming aware, before even reading the title or anything about it, that the line moved. I wondered what, if anything, would strike me when I visited the Hill Art Foundation’s current exhibition, Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise, which is curated by Ray from the Foundation’s collection and features, in addition to four of his own pieces, intimately-scaled bronzes made by Italian, French, and Netherlandish sculptors of the 16th and 17th centuries. Read full article here.
The Brooklyn Rail reviews Charles Ray’s exhibition at the Hill Art Foundation.
Charles Ray is a slippery artist for me. In the time that I have been engaging with his work, I have often been surprised by what gives me pause, and by what I find myself returning to days, sometimes even years, after I have seen it. So often, it is something slight: witnessing the slow ripples created by the edges of a woman’s fur sleeve as it dragged through Ink Box (1986), installed in Ray’s 1998 Whitney retrospective; observing the sheen of flowing ink in 1987’s Ink Line and becoming aware, before even reading the title or anything about it, that the line moved. I wondered what, if anything, would strike me when I visited the Hill Art Foundation’s current exhibition, Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise, which is curated by Ray from the Foundation’s collection and features, in addition to four of his own pieces, intimately-scaled bronzes made by Italian, French, and Netherlandish sculptors of the 16th and 17th centuries. Read full article here.