International 2012 Archives
Is it real? Lifelike invites a close examination of artworks based on commonplace objects and situations, which are startlingly realistic, often playful, and sometimes surreal. Considering a continued interest in meticulously crafted realism in contemporary art from the 1960s to the present, this international group exhibition features artists variously employing scale, the psychological potential of the uncanny, and sly contextual devices to reveal the manner in which their subjects' "authenticity" is manufactured.
The several generations of artists in Lifelike investigate the quieter side of the quotidian, choosing potentially overlooked items or moments as subject matter and favoring a handmade, labor-
Lifelike examines a trajectory in art that began in the late 1960s, positioned between Pop and Photorealism, but aligned with neither. Avoiding Pop's brand-
The exhibition explores the many ways artists have pursued handmade verisimilitude through a range of media, including painting, sculpture, photography, drawing, video, and three-
Conspicuously absent in most of the works in Lifelike is a reliance on technological intervention. Instead, in seemingly inverse proportion to the ease of producing goods for the marketplace, many artists are slowing and complicating their own working methods, remaking banal things into objects of fixation and desire: Catherine Murphy's details of textured fabric on the seat of a chair, or Ron Mueck's strikingly "real" sculpture—down to the last hair and pore—of human subjects. Frequently these artists work from photographs, but just as often, their inspiration is the observed world, and the notion that a tangible, perhaps ephemeral object or moment can somehow be brought back to life—reinterpreted through the artist's hand as re-
Exhibition 25 February -
© ArtCatalyse International / Marika Prévosto 2012. All Rights Reserved