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.