Like Life: Sculpture, Color, and the Body (2018) is one of the most successful exhibitions to have been held at the Met Breuer space for modern and contemporary art, and for good reason. In this space, the museum has made something of a specialty of themed shows that cross traditional geographic and chronological boundaries, of which Like Life is a particularly ambitious and notable instance. Its success derived in part from the clearly definable nature of the phenomenon it featured—freestanding figurative sculpture distinguished by an enlivening of sculptural form through devices that depart from traditional monochromatic and classicizing conventions. Such devices include color, the use of materials such as wax that look more fleshlike than marble or bronze, surface textures that one senses as being more natural than the smooth epidermis traditionally thought appropriate for sculpture, and figures dressed in real clothing or fabric. The focus is thus on sculpture that prioritizes effects of sensuously vivid lifelikeness over formal purism. Endeavors to render the freestanding figure in such a way that its literal inertness comes alive for a viewer can with some justification be seen as occurring in diverse cultural contexts and across a considerable span of historical time. As a result, the many differently conceived works in the exhibition, generously illustrated in the very fine catalogue, relate by way of shared material and artistic concerns that go beyond the purely visual associations or contingent analogies on which many transhistorical and transcultural thematic exhibitions of this kind rely. Two features in particular mark out the project as an intelligent and important contribution to current thinking about figuration in sculpture.1 First, conventional perspectives on the subject have been expanded by encompassing a significant amount of work that falls outside the purview of standard studies of sculpture: anatomical models, wax effigies, automata, lay figures, mannequins, and one-off curiosities, among them the seated figure of a clothed Jeremy Bentham encasing his actual skeleton, usually on display in University College London. Such sculptural creations have been receiving more notice of late as flesh-colored figures in realistic dress have entered the repertoire of contemporary sculpture. Still, it is instructive to have them brought into a broader ambit of work already widely considered sculpture, properly speaking—medieval, early modern, and nineteenth century—that exploits lifelike coloring and texturing. The

中文翻译：

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像生活：雕塑，色彩和身体；和喜欢生活：雕塑，色彩和身体，作者：卢克·西森（Luke Syson），希娜·瓦格斯塔夫（Sheena Wagstaff），爱默生·鲍耶（Emerson Bowyer）和布林达·库马尔

像《生命：雕塑，色彩和身体》（2018年）一样，这也是Met Breuer空间为现代和当代艺术举办的最成功的展览之一，这有充分的理由。在这个空间中，博物馆做了一些专题展览，这些展览跨越了传统的地理和时间界限，其中，《人生》是一个特别雄心勃勃且引人注目的实例。它的成功部分源于它所表现出的现象的明确定义-独立的形象雕塑，其特征在于通过不同于传统的单色和经典惯例的装置使雕塑形式更加生动。这样的装置包括颜色，使用比大理石或青铜看起来更肉质的材料（例如蜡），人们感觉比传统上适合雕塑的光滑表皮更自然的表面纹理，以及穿着真实服装或布料的人物。因此，重点放在雕塑上，该雕塑将感性生动逼真的效果优先于正式纯粹主义。努力以一种独立的形式呈现独立的形象，以使观众真正感受到其惰性，可以有理由地将其视为发生在各种文化背景下以及相当长的历史时期内。结果，展览中许多构思不同的作品，在精美的目录中得到了充分的阐释，它们通过共同的物质和艺术关注而联系在一起，而不仅仅是纯粹的视觉联想或偶然的类比，而在这些展览中，许多跨历史和跨文化主题展览善待。特别是有两个特点，标志着该项目是对当前雕塑雕像思想的明智而重要的贡献。1首先，通过包含超出雕塑标准研究范围的大量工作，扩展了对该主题的传统观点：解剖模型，蜡像，自动机，躺椅，人体模型和一次性好奇物，其中包括穿着杰里米·边沁（Jeremy Bentham）的包裹着他的真实骨骼的坐姿，通常在伦敦大学学院展出。后来，随着逼真的肉色人物进入现代雕塑作品中，此类雕塑作品已受到更多关注。不过，将它们带入已经被广泛认为是雕塑的更广泛的作品领域还是很有启发性的。早期的现代和19世纪-利用逼真的着色和纹理。这