'Kind of Goya‐esque or Something': Charles Ray's Early Works.
In Charles Ray's Plank Piece I‐II (1973), the artist creates a sculptural assemblage that holds him uncomfortably aloft. There has been little critical attention to his earliest performed sculptures created between from around 1973 to 1980, beyond characterizations as jejune experiments, homages, or...
| Publicado en: | Art History Vol. 45; no. 2; pp. 280 - 308 |
|---|---|
| Formato: | Artículo |
| Publicado: |
Oxford University Press / USA
Apr2022
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=157058365&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 157058365 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01416790 ARH jtl: Art History issn: 01416790 maglogo: N pubinfo: dt: Apr2022 vid: 45 iid: 2 pid: 622 pub: Oxford University Press / USA artinfo: ui: 157058365 10.1111/1467-8365.12649 ppf: 280 ppct: 28 formats: tig: atl: 'Kind of Goya‐esque or Something': Charles Ray's Early Works. aug: su: Ray, Charles 20th century American sculpture Artistic influence Goya, Francisco, 1746-1828 Diptychs sug: subj: Ray, Charles 20th century American sculpture Artistic influence Goya, Francisco, 1746-1828 Diptychs ab: In Charles Ray's Plank Piece I‐II (1973), the artist creates a sculptural assemblage that holds him uncomfortably aloft. There has been little critical attention to his earliest performed sculptures created between from around 1973 to 1980, beyond characterizations as jejune experiments, homages, or hijinks. I seize on a statement by Ray that when he claimed in the 1970s that the works '[had] no meaning – or rather their meaning is dynamic, [...] my friends laughed at me and said, "You idiot, it looks like the aftermath of a car wreck or a Goya print".' I pursue his 'idiotic' invocations: an eerily reminiscent etching by Goya; automobile disasters; the American War in Vietnam; and other contingent phenomena. The effect is a sustained experiment in looking, reading, and writing. Reading against the grain, Plank Piece I‐II provokes hermeneutic challenges – and new methodologies for criticism – towards a refashioning of meaning and history in performance. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
|---|