Naomi Fry of The New Yorker interviews Charles Ray at The Met, discussing his favorite pieces there as well as his new show at the Hill Art Foundation.
Bright and early on a recent Saturday, Charles Ray, the Los Angeles sculptor, stepped out of the Four Seasons Hotel, and walked west on Fifty-seventh Street. Ray, who is sixty-six, was in town for the opening of a show at the Hill Art Foundation, in Chelsea. At the luxuriously spare nonprofit space, his enigmatic sculptures—a life-size aluminum mime stretched on a camping bed, a sterling-silver mountain lion about to maul a dog, an apple core wrought in gold—were presented alongside Renaissance and Baroque bronzes, among them three Christs, which were selected by the artist from the collection of the hedge-fund billionaire J. Tomilson Hill and his wife, Janine. The curatorial gambit threw into relief the solemn, even spiritual quality of Ray’s pieces, which can take fifteen years to complete. Read the full article here.
Naomi Fry of The New Yorker interviews Charles Ray at The Met, discussing his favorite pieces there as well as his new show at the Hill Art Foundation.
Bright and early on a recent Saturday, Charles Ray, the Los Angeles sculptor, stepped out of the Four Seasons Hotel, and walked west on Fifty-seventh Street. Ray, who is sixty-six, was in town for the opening of a show at the Hill Art Foundation, in Chelsea. At the luxuriously spare nonprofit space, his enigmatic sculptures—a life-size aluminum mime stretched on a camping bed, a sterling-silver mountain lion about to maul a dog, an apple core wrought in gold—were presented alongside Renaissance and Baroque bronzes, among them three Christs, which were selected by the artist from the collection of the hedge-fund billionaire J. Tomilson Hill and his wife, Janine. The curatorial gambit threw into relief the solemn, even spiritual quality of Ray’s pieces, which can take fifteen years to complete. Read the full article here.