Like Life is a 2018 sculpture exhibition at the Met Metuer Museum in New York. Its catalogue of the same name not only shows a lot of exhibits, but also shows some analytical papers that are substantial and challenging. The catalogue itself is worthy of recognition, and anyone who is interested in art, even those who have not participated in the exhibition, will appreciate it. It has made an important contribution to our appreciation of 3D art, and we tend to mark it as "sculpture", whose insights go far beyond the scope of art criticism. Anyone reading this book will understand the complexity of this description because its methods always question the value we gain through our interpretation of our artistic experience. In fact, these articles may even challenge our understanding of anything we see through prejudice, presumption, or just interpretation. In short, everything. Just like life, catalog, so it almost becomes a disturbing experience. We eventually know more, but just realize how much we and our views on actual understanding.
Just like life is obviously a pun in life. It can also be seen as an order related to the life of lying, which would be ironic because the forms of the still life presented are translated in many languages, not still, but dead. One of the main lines of the discussion is that when the sculpture becomes a bit like life, it is generally downgraded by the critics as artifacts and denies the art of labeling. At the heart of the discussion is the use of color.
Imitating classical sculptures through the innocent white visual language of marble to express false assumptions. The story of sculpture is unfolded through this misplaced desire, recreating classical values through the whiteness of purity and the fineness of completion. Just like life not only reminds us that these classic works are multi-colored, it also asserts that this wrong value is consistent with the European view that whiteness is always superior, and by inspection, any colored things are inferior. Therefore, all make-ups are strictly attributed to the range of craftsmen, not artists. It is this assumption that the center effectively separates the world of sculpture and painting.
The original Met Breuer exhibition shows sculptures from the medieval era to the present, but not in chronological order. Its parallel items illustrate the subject, contrast and contradiction in a completely stimulating way. The Like Life catalogue does the same, but the intellectual arguments in the text may be more eye-catching than the visual impact provided by the exhibit.
Why is it normal for Eve to try to present the skin of the skin in painting, and it has been regarded as a depreciation object in sculpture for centuries? Why do we expect sculptors to start with stone, wood or wax and make it into an image of their choice, rather than directly shaping it from the human form? Why do we still reject reality when realism portrays everyday objects that we usually don't associate with art? Why do you expect idealized human forms, not real people, defects, weaknesses and all? Why are the human figures carved in nudes still generally not depicting genitals? Why do we devalue the sculpture that directly mimics life? Through this history, the history of sculpture clearly shows that the process it exhibits can be applied to any art form that we are willing to provide. It may be painting, music, drama, literature, poetry, etc. On what basis do we describe value or value, and on what rules do we describe artistic value? What control does our hypothesis play in editing what we see, or at least what we explain about what we see? And, perhaps most importantly, if we are slaves we assume, who or what produced them?
Function has always been a consideration. If an object is completely out of use, it is always more likely to be regarded as art in our Western way of thinking. The mannequins on the store, like the colorful inflatable angels decorating the altar, have always been regarded as functional rather than artistic. A sculptor chiseled a piece of jasper to shape a bust, sometimes producing art, and a contractor of a plaster cast death mask was not. However, the death mask does not represent life, is it? After all, it shows a form that cannot move. But then how can we treat still life as art because it can't move, is it?
Watching the exhibition itself and actually reading the catalog can change people's perception of the world. The flea market, which once provided a garbage collection form, now presents items that have a reason to exist. What the observer must try to collect is why the manufacturer of the object decides to use that material and the color to represent that in this way. It leads to obedience like life. What has been seen before, things that may be largely neglected become objectified, separated, and worthy of being viewed positively, rather than being accepted passively or even dismissively. Not many books have this effect on readers.
Just like life is a challenge because it is a demo. Yes, we will see an image of the sculpture and be asked to react. But reviews often provide a completely different approach, and we can assume that it does challenge us to reinterpret and reevaluate our assumptions. This is what art should do, isn't it?
Orignal From: Like life - Catalog: Sculpture explained at Met Breuer
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