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Lifelike: James Casebere, Duane Hanson, Alex Hay, Charles Ray

With only a week to go until Lifelike opens, more works are heading into a galleries. A look at the newest additions as they go into place: Alex Hay’s fiberglass Paper Bag (1968) stands nearly five feet tall, with Chuck Close’s Big Self Portrait (1967-1968) in the background. Photo: Gene Pittman James Casebere’s Landscape with […]

With only a week to go until Lifelike opens, more works are heading into a galleries. A look at the newest additions as they go into place:


Alex Hay’s fiberglass Paper Bag (1968) stands nearly five feet tall, with Chuck Close’s Big Self Portrait (1967-1968) in the background. Photo: Gene Pittman


James Casebere’s Landscape with Houses (Dutchess County, NY) #8 (2010) waiting to be hung. Photo: Paul Schmelzer


A detail shot of the ever-fascinating (Old) No One – in Particular #6, Series 2, a sculpture by Evan Penny. Photo: Gene Pittman


Hyper-detailed, down to the nosehair. Photo: Paul Schmelzer


Rendered in anamorphic perspective, the piece appears flattened when viewed from the side, but is startlingly realistic from the front. Photo: Gene Pittman


Charles Ray’s Bath (1989) being filled with 55 gallons of liquid.


A look behind the wall at Ray’s Bath and the pump that fills it. Photo: Paul Schmelzer


Measuring just 17 x 18 x 11 inches, Ron Mueck’s Crouching Boy in Mirror (1999-2000) appears to be checking out the reflection of Charles Ray’s yet-to-be-hung No (1991).


Rarely lent out, Duane Hanson’s Janitor (1973) came to us from the Milwaukee Art Museum secured firmly in a crate. Photo: Paul Schmelzer


A closeup of Hanson’s Janitor, before his glasses went on. Photo: Paul Schmelzer