Artwork
Untitled
Untitled is a paint print by Charles Ray. It dates from 1993 and is held in the collection of the Museum of Modern Art.
About this work
If you're interested in learning more about this piece, you might want to explore the work of artist Charles Ray.
This image shows a white card with black text and a signature. The text reads "PARKETT" in large letters at the top, followed by "CHARLES RAY / EDITION FOR PARKETT NO. 37" and "THE MOST BEAUTIFUL WOMAN IN THE WORLD, 1993". A signature is visible below the text.
The card appears to be a certificate of authenticity for a work of art, possibly a print or photograph. The text suggests that it is part of a limited edition, and the signature may be that of the artist.
If you're interested in learning more about this piece, you might want to explore the work of artist Charles Ray.
Overview
Charles Ray produced nine chromogenic color prints in 1993 under the title Untitled. Each print functions as a reproduction of a certification card, not a traditional photographic image. The work belongs to a series of editions created for the art publication Parkett, numbered 37. Ray’s approach here subverts the usual function of authentication documents, transforming them into the artwork itself.
Subject & Meaning
The prints display a card declaring 'THE MOST BEAUTIFUL WOMAN IN THE WORLD, 1993,' alongside institutional details about the edition. The phrase is deliberately vague, offering no visual reference to a person. By isolating this assertion from any corresponding image, Ray questions the authority of language in defining value, beauty, and artistic legitimacy.
Technique & Style
Ray used chromogenic printing, a method common in color photography, to reproduce the appearance of a printed certification. The design mimics official documentation: clean typography, minimal layout, and a handwritten signature. The aesthetic is deliberately sterile, emphasizing the bureaucratic tone of authenticity certificates while stripping away their usual context.
History & Provenance
The prints were produced as part of Parkett’s limited edition series, which commissioned artists to create works for publication. Ray’s contribution was issued in 1993, and the set is now held in the collection of The Museum of Modern Art. The work’s provenance is tied to its origin in an artist-publishing collaboration, reinforcing its role as a conceptual object rather than a conventional print.
Context
In the early 1990s, Ray was exploring the boundaries between object and representation, often using mundane or functional items as subjects. This work aligns with his broader interest in systems of value and perception. By elevating a certificate, typically a supporting document, to the status of art, Ray critiques how institutions assign meaning and authenticity.
Legacy
The work remains a significant example of conceptual photography in late 20th-century art. It influenced later artists who interrogated the materiality of documentation and the performative nature of authorship. Its inclusion in MoMA’s collection underscores its role in expanding the definition of what constitutes a photographic artwork.
Artist & collection
Artist
Charles Ray (1953) is an American sculptor known for his strange and enigmatic sculptures that draw the viewer's perceptual judgments into question in jarring and unexpected ways.
