Signature: sixteen Kodachrome photographs mounted on board
Malmö, Rooseum-Center for Contemporary Art; London, Institute of Contemporary Art; Kunsthalle Bern and Kunsthalle Zurich, Charles Ray, March-October 1994 (illustrated, another example exhibited).
London, Saatchi Gallery, Young Americans: New American Art in the Saatchi Collection, January-May 1996, pp. 94-95 (illustrated, another example exhibited).
New York, Whitney Museum of American Art; Los Angeles, Museum of Contemporary Art; Chicago, Museum of Contemporary Art, Charles Ray, June 1998-September 1999, p. 70 (illustrated, another example exhibited).
Los Angeles County Museum of Art; Washington D.C., Corcoran Gallery of Art; Boston, Museum of Fine Arts, Jasper Johns to Jeff Koons: Four Decades of Art from the Broad Collection, October 2001-October 2002, pp. 200-201 (illustrated, another example exhibited).
New York, Whitney Museum of American Art, Evidence of Impact: Art and Photography 1963-1978, July-October 2004 (another example exhibited).
K. Kertess, Photography Transformed: the Metropolitan Bank and Trust Collection, New York, 2002, p. 173 (another example illustrated).
Acquired directly from the artist by the present owner
About Charles Ray
Best known for his sculptures of almost imperceptibly altered, or wildly exaggerated, familiar objects, Charles Ray creates mesmerizing, disorienting works that challenge perception. With Firetruck (1993), for example, Ray enlarged a toy Tonka truck to the proportions of an actual fire truck and “parked” it in front of the Whitney Museum in New York. From afar, Firetruck looked real. It was only upon approach that viewers saw that it was not. Ray’s Ink Line (1987), an example of his exquisitely subtle work, consists of a stream of black ink running from a dime-sized hole in the ceiling to a dime-sized hole in the floor. Upon close inspection, viewers realize that what looks like a piece of string is actually a continuous flow of liquid.
American, b. 1953, Chicago, Illinois