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Charles Ray - Figure Ground - The Metropolitan Museum of Art - ****
Characteristically, the Met's exhibition texts are unhelpful in addressing Ray's work, floundering around with vague gestures toward "materials" and "space" as though such generalities would be of any use to anyone. The elephant in the room, one that a museum desperate for visitors (see the Disney exhibition downstairs) cannot confront, is that Ray's work is cold, artificial, and uncomfortable. The texts seek to claim that a giant silver sculpture of a nude Huck and Jim from Huckleberry Finn is a romantic reflection of interracial camaraderie and introspection on the cosmic, but aren't their ogre sized chrome bodies instead an ironic negation of that romanticism, an expression of our negative relationship to the ideal of rustic Americana it is supposedly invoking? The opening image, a photograph portrait of a fiberglass mannequin of Ray himself, lets this alienation slip from the start, especially with his quoted comment that "No is exactly what it feels like to be me." No matter what the literal subject of his works may be, their through line is the rigidity of minimalist austerity: the false bottoms of glasses and the cube inset to the floor, the real human body used as a rag doll pinned against the wall or tied to a tree in a masochistic aspiration towards self-oblivion. Each of these works is an uncomfortable negation of the soft, malleable human being in contrast to the cold, metallic inflexibility of the reality that delimits our experience. These means are not, to quote the wall text, "sculptural meditations ... bringing the deliberate spatial arrangements into focus," or if they are, they do so secondarily to their sense of lack and constraint. The central referent of his work is not the humane triumph of classical sculpture but the falsity of the mannequin. Boy looks straight out of an Old Navy window display, but the slightly ill-at-ease feeling of the corporate imitation of humanity has been made explicit, leaving the viewer to grapple directly with the uncanny hollowness of the figure without the excuse of advertising, which is to say nothing of Family romance, a diminutive family of four, all naked and the same size, uncomfortable to the point of near-horror. These earlier mannequins put into further relief the Met's rhetoric regarding his other sculptures, that these nude chrome giants are simply monumental and unironic. They are, regardless, beautifully crafted objects that emphasize the quality of their materials, the luminous unreality of aluminum and steel, the perfection of the folds of a pair of jeans sculpted in wood. But the beauty of the raw matter highlights the abstraction of the sculptures from their subjects and underscores that the act of representation, which was once an invocation of the real, is now a show of an abstracted unreality. The industrial production of the figures and their resulting perfection connotes, in itself, this distantiation. Whereas Greco-Roman sculpture aspired to a perfection that would reflect the perfection of the human spirit, and was executed by human hands that articulated the aspiration towards an ideal form, Ray's figures are technically flawless but made uncanny through distortions of size and material that contravene their verisimilitude instead of glorifying it. This could be reduced to a pedantic dualism of authentic craft and alienated industrial production, and perhaps rightly so, but that difference should not be further reduced to a judgment that loves the authentic and despises the alienated. We are, after all, alienated, and an authentic expression of alienation is always preferable to an alienated attempt at authenticity.
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