No one paid much attention when mounds of gravel and a small bulldozer materialized at the now defunct Getty gas station on the corner of Tenth Avenue and 24th Street last Friday, maybe because construction is to be expected: the site is slated for demolition and development into luxury condominiums. Yesterday, however, when the rocky hills were carpeted with real bright green grass, passersby stopped all day to take pictures from behind the white wooden fence surrounding the station. “Who’s the artist?” asked one woman, as she snapped photos of the undulating field. The art will be installed next Monday, when a flock of concrete sheep by the late French sculptor François-Xavier Lalanne arrive in the pop-up meadow.
When Turkish painter Taner Ceylan first visited New York, he did not like what he saw. “It was a very depressing, very scary thing for me because it was winter,” he recalled earlier this month via Skype. “People are running in the street with coffees in their hands, Starbucks coffees, and eating on the corner, and this is scary. This is not usual for me.” The trauma didn’t last. A recent springtime trip made a convert of Mr. Ceylan (“Now I’m a very big New York fan”), which is good since he’ll be back in town soon for his first solo show with Paul Kasmin, who began representing him last December. The show, slated to open at the gallery’s West 27th Street space on Sept. 18, will feature the 10 works in his “Lost Paintings” series (2010-2013), a photorealistic exploration of Western Orientalist paintings, which were popular in the 19th century.
MONDAY, OCTOBER 15
Opening and Performances: “Some Sweet Day,” at Museum of Modern Art
This week, MoMA begins its three-week dance series “Some Sweet Day,” which pairs some of the brightest talents in conceptual dance from the Judson Church era to today in dialogues that explore the boundaries of movement. Steve Paxton, Jérôme Bel, Sarah Michelson and Faustin Linyekula are some of the dancers in the performance series that occurs at various times in the atrium over the course of the exhibition. Steve Paxton opens the dialogue with his works Satisfyin Lover and State, presented at various times on Wednesday and Sunday. Jérôme Bel responds with The Show Must Go On, presented at various times on Saturday and Sunday. Saturday at 4 p.m., join Sabine Breitwieser, chief curator of the department of media and performance art, and guest curator Ralph Lemon as they lead the two dancers in a discussion about their work. —Rozalia Jovanovic
Photographer Rodrigo Pereda is suing artist Ivan Navarro and his New York gallery, Paul Kasmin, in federal court, alleging that they infringed on his copyright in a number of instances by allowing his work to be published in and distributed to various publications, without his permission and without credit. He says that he was deprived of his typical licensing fee and that his images were used to boost Mr. Navarro’s career.
In one case, Mr. Pereda alleges, Mr. Navarro and the gallery allowed ARTnews to run an image that he shot of one of Mr. Navarro’s light sculptures in an article without his permission.
Mr. Navarro’s defense? He says that Mr. Pereda didn’t actually take the photo in question, and that Mr. Pereda was just his assistant, and thus wouldn’t have retained copyright to any images that he shot. The case, which seeks $150,000 per each of three claims of infringement, raises some interesting questions about the nature of the relationships between artists and those they hire to help complete their projects in a world where agreements often occur over nothing more than a handshake.
What united the paintings, drawings, sculpture, and collage of the recent Whiting Tennis show at Derek Eller Gallery was a kind of capillary motion. A step-by-step, fire-brigade method for building mass and covering space, it looked something like a rigorous materialism put in the service of an off-camera but serenely confident faith.
Blue Cactus is a five and a half foot tall acrylic and collage portrait of a highly abstracted, three-branched, denim-colored figure resting on tiny brown sofa legs. The sky behind it is painted in short, jutting, overlapping strokes of gray and blue, all of which could pass for both patches of sky and patches of sky between clouds; the ground beneath it in sharper-edged panels of brown and tan that recede dramatically upward with a jocular Cubist exaggeration; and the cactus itself in white-speckled blue geometric sections that only become figurative in concert with one another.
Ai Weiwei has been tweeting all day about the death of Kim Jong-il. The first message was about Wukan, a small village in southeast China that has broken into revolt after Chinese authorities sold land to real estate developers without adequately compensating the villagers:
“Do Wukan people know Kim Jong Il is no more?” Read More
Bloomberg‘s write-up of the Walton Ford show at Paul Kasmin gallery reveals that the three massive, life-sized paintings of King Kong aren’t just the artist’s biggest: they are also among his most expensive.