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Maurizio Cattelansshiny wall sculptureSundaytackles a weighty subject in a very lightweight way.
A VIP audience was in attendance, including Jeff Koons, who opined that the end result was celestial.
He toldThe New Yorkers Calvin Tomkins, Its about violence and I use weapons as brushes.
This obvious decoration adorns the south wall of the gallery.
But the effect is next to nil for something so stylish and highly produced.
Its closer to jewelry, something for the Met Gala, dictator mansions, or Las Vegas hotel lobbies.
Sundaysays very little very loudly.
Philosophically, they flicker and go dead.
Ive loved Cattelans work.
I wanted to at least likeSunday.
But obvious art-historical references tumble out of itlike clowns from a Volkswagen.
Lucio Fontanas knife-slashed canvases.
Jackson Pollocks border-to-border composition.
Yves Kleins paintings made with flamethrowers.
Each marked an advancement of modernisms half-mad evolution.
Cattelan does no such thing.
Positioned in front ofSundayis a marble sculpture titledNovember.A clothed man lies on his side on a bench.
He holds his penis as he urinates.
Not only is it inert, it looks exactly like a Charles Ray sculpture.
It comes in an edition of three.
