previews

  • Charles Ray, Plank Piece I–II, 1973, 1 of 2 black-and-white photographs mounted on rag board, 42 1/4 x 29 5/16".

    Charles Ray, Plank Piece I–II, 1973, 1 of 2 black-and-white photographs mounted on rag board, 42 1/4 x 29 5/16".

    Charles Ray

    Astrup Fearnley Museet
    Strandpromenaden 2
    September 16–December 17, 2006

    Curated by Grete Årbu, Gunnar B. Kvaran, and Hanne Beate Ueland

    Exploiting Charles Ray’s sailing experience as a metaphor for his art may seem bizarre, but that’s how this show’s curators have chosen to chart the Los Angeles–based artist’s path between 1971 and 2006. Apparently the mastery of gravity, weight, and balance is required both for practicing art and for navigating the seas. The exhibition highlights related themes such as the transience of life and the enigma of being through twelve sculptures and photographs, including Plank Piece I–II, 1973, in which the artist famously pinned his body to a wall with a flat timber, and the more recent life-size aluminum woman. The show should provide an opportunity for viewers to reflect on the stormy course of Ray’s career, from his early engagement with a Conceptual but humorous performance art to uncanny, sexually desublimatory figurative sculpture.