Max Hollein, Marina Kellen French Director of The Met said, “This is an exciting exhibition, as it provides a rare opportunity to take account of the sheer range of Charles Ray’s work from his early photographs to his most recent sculptures, including two new pieces that will be on public view for the first time: Sarah Williams (2021) and Archangel (2021). The Met’s collections have long served as an enduring source of inspiration for the artist, so we are especially thrilled to present this focused survey in our galleries.”
Sheena Wagstaff, Leonard A. Lauder Chairman of The Met’s Department of Modern and Contemporary Art, added, “At first glance, Charles Ray’s sculptures of people are recognizable, yet are often suggestive of disquieting, poignant stories in bodily form. They resuscitate ancient sculptural references to perform and live in the present, and reward our close looking of each work to trigger thoughts about our relative transience. But—like the exhibition itself—Charles gives us breathing space to contemplate this. He probes deep into the nature of time, drawing on the past’s rich history and its archeology of humankind, as if it were just around the corner.”
Throughout his career, Ray has expanded the fundamental terms of sculptural language. Long engaged with the history of Western sculpture, his work self-consciously reinvents traditions associated with the past, from classicism to Minimalism. Ray has also experimented with an astonishing variety of materials, from fiberglass and porcelain to wood, aluminum, and steel, and pioneered major advances in production, combining the analog and the digital as well as human and robotic hands. His work addresses in elliptical, often irreverent ways not only popular culture and mass media but also identity, mortality, race, and gender.
Charles Ray: Figure Ground will feature a suite of carefully placed works whose arrangement in space forges subtle connections between objects and viewers, exploring several lines of inquiry. It will also bring together for the first time the sculptures that Ray loosely patterned on Mark Twain’s 1885 novel, Adventures of Huckleberry Finn. Similar to a scholar’s stone, which facilitates and prolongs the process of interpretation, these and other sculptures by Ray pose many trenchant questions but answer none directly.