June, 2012

The Big Picture: An interview with Edward Burtynsky

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It’s often impossible to fully understand the big picture of industrialized development from the limited perspective of the consumer. Each day most of us in the western world go about our business, driving to and from work, using plastics made from petroleum, enjoying foods shipped in from thousands of miles away, without a thought of the very resource that makes this all possible — oil. The impact of[.....]

Nobody Acts Sincere

L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley A 29-nine-year-old man in a Mercedes Benz led cops on a high-speed chase a week ago, traveling across four L.A. freeways and ending up on surface streets. He hit three cars and injured five people, including himself and a three-year-old boy who had been a passenger in an SUV. The reckless driver[.....]

Thank You for the Music

Thank You for the Music recently ended the second part of its showing at Kiasma, the Museum of Contemporary Art in Helsinki, Finland. The exhibition presents works by artists inspired by music, musicians, and the way individuals and communities experience a place, their past, and themselves, through the myths and rituals surrounding music. In particular, the notion of performance in the construction and reconstruction of[.....]

Alexis Harding: Substance and Accident

Alexis Harding, Substance and Accident, 2012, installation view. Courtesy of Mummery + Schnelle, London.

Order and control are nothing but illusions. Underlying even the most structured of appearances, randomness and chance are at the helm, and it is these concepts that prevail in the workings of London-based artist Alexis Harding. Throughout Harding’s work, structures are shown to fail, grids collapse, and hard-edged systems give way to entropy. What began in his practice as an act of figurative negation, evolved[.....]

The Past Haunts the Future at San Francisco’s Asian Art Museum

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The current exhibition at the Asian Art Museum in San Francisco is my favorite kind of museum show. Phantoms of Asia combines the old, new, profound, weird, classic and kitsch in a lineup of artists that exemplifies the infinite connections between past and present. The 150 works cover such a broad range of media and time that it is hard to not be impressed by[.....]

HELP DESK: Studio Visits, part 1

John Baldessari, Man with Blue Shape, 1991. Photograph, 77.5 x 122 cm

Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling — or any other activity related to — contemporary art. Together, we’ll sort through some of art’s thornier issues. Email helpdesk@dailyserving.com with your questions. All submissions remain anonymous. HELP DESK is sponsored in part by KQED.org. As an independent curator also affiliated with the programming of a commercial space,[.....]

Next to Nothing/I Can’t Work Like This

The tenuous/fluid/confusing relationship between art works and the art market have been on my mind a lot lately. So for today’s dip into the DS Archives we take another look at the 2011 exhibition, Next to Nothing: On the Price of Nothing and the Value of Everything at SWG3 Gallery in Glasgow and compare it to the upcoming exhibition I Can’t Work Like This at Casco in[.....]