CURA.

CHARLES RAY
three rooms and the repair annex

Matthew Marks Gallery, New York

May 3 – June 16, 2018

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Ray has divided the larger gallery, 522 West 22nd Street, into three rooms and installed a single sculpture in each one. Reclining Woman (2018), in the center of the main room, is machined from solid stainless steel. Presented in a relaxed pose on a rectangular steel base almost at eye level, the figure is slightly larger than life-size. The subject’s body has not been idealized, and every detail, from the toes on her feet to the mole on her cheek, is carved with a directness matched by her frank facial expression.

The scale shifts in the room at the back, where Mountain Lion Attacking a Dog (2017) is on view. This hypothetical scene from the hills around the artist’s home in Los Angeles is cast in sterling silver and is three and a half feet long and less than two feet high. The smaller scale encourages viewers to lean in and examine the detailed surfaces of the animals’ muscular bodies.

The third sculpture, A copy of ten marble fragments of the Great Eleusinian Relief (2017), is machined from a solid block of aluminum. It is based on a work in the Metropolitan Museum of Art, an amalgam of Roman marble fragments embedded in a plaster cast of the ancient Greek original.

Next door at 526 West 22nd Street are a pair of small-scale sculptures, Mechanic 1 and Mechanic 2 (2018). The sculptures depict the same figure in two different poses: one removes the wheel rim from an automobile tire while the other crouches and watches attentively. Both are made from machined solid stainless steel that has been painted in a matte white finish, which highlights the details on the sculptures and gives them an almost porcelain-like delicacy.

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CREDITS
Courtesy of the artist and Matthew Marks Gallery

OTHER TIPS
Arsenic, Performing Arts Center, Lausanne
In the labyrinthine walk across the space, plaster masks and faces appear, intertwined ceramic tongues talk to one another, fragments of texts poured into plaster balls are suspended at eye level. The exhibition unfolds then almost as a declaration of love to existence and to the body beyond the tangible. Galerie Chantal Crousel, Paris
In the beginning was the wall. Before geo-politics, Pink Floyd or wall-drawing was the structure itself: a divider between us and the rest of the world, it builds on the promise of all civilization, of protection and enclosure, of distinguishing that which we have claimed as ours from that which is not. Gladstone Gallery, New York
Modern Art, London
CASTIGLIONI, Milano
Rosa Santos, Valencia
DISPLAY, Berlin
SpazioA, Pistoia