"These transitive practices have gained currency because they offer a way out of a particularly enduring critical dead end: the reification trap. As the most collectible type of art, which combines maximum prestige with maximum convenience of display (both for private and institutional collectors), painting is the medium most frequently condemned for its intimate relation to commodification. Needless to say, this is an accurate diagnosis, but it is equally true that paying an artist (or an art historian for that matter) a fee in exchange for services rendered such as a lecture, performance, or temporary installation is no less a transaction leading to commodification than the sale of a painting—even if less money changes hands."
Painting Beside Itself
BEHIND THE SCENES: Installation of the exhibition “Léger: Modern Art and the Metropolis” is underway, and it’s going to be GREAT! Opens Monday, October 14.
Backdrop for “Skating Rink,” Ballets Suédois, Stockholm, 1922, reconstructed 1969, by Fernand Léger (Dansmuseet, Museum Rolf de Maré, Stockholm). GIF shown by permission of lender