May, 2013

Organism/Mechanism: Michael Theodore at David B. Smith Gallery

Michael Theodore, endo/exo (2013), installation view, dimensions variable, courtesy of David B. Smith Gallery and the artist.

When you enter your local supermarket, the door will most likely slide open automatically, welcoming you as it senses your presence. There’s nothing remarkable about that, you’re accustomed to the simple technology of motion sensors. What is remarkable is that technological fixtures such as motion sensors have become so ubiquitous that we scarcely notice them anymore. They are a part of your daily routine, a[.....]

Tracey Emin at Lehmann Maupin: The Carry

Tracey Emin’s work presents an unfiltered and often embarrassingly personal view of emotional pain. It reflects the kind of desperate or careless narcissism that is the territory of the depressed. Emin is concerned with the primacy of her own experience—and the narrative of her own sadness is the unabashed subject of her work. Emin’s oeuvre has always felt most valuable to me in terms of[.....]

Time After Time: “The Clock” at SFMOMA

Christian Marclay, video still from The Clock, 2010; single-channel video with stereo sound, 24 hours; White Cube Mason’s Yard, London, October 15–November 13, 2010; courtesy Paula Cooper Gallery, New York, and White Cube, London. Photo: Todd-White Photography; © Christian Marclay. The White Cube gallery arrangement is slightly different from the SFMOMA arrangement I describe.

Everyone I know who saw Christian Marclay’s Clock raved about it. The 24-hour sequence of film clips, most with a view of a clock face, is more action-packed than I’d imagined it would be. The focus is as much on the events surrounding the passage of time as on the instruments we use to measure that passage. In this way, The Clock isn’t about clocks[.....]

A Ballad for Chicago: Theaster Gates at MCA Chicago

nstallation view, Theaster Gates: 13th Ballad, MCA Chicago, 2013. Photo: Nathan Keay, © MCA Chicago.

Last year, Theaster Gates and a team of collaborators took over a run-down building in Kassel, Germany called Huguenot House, renovating the space for performances and creative interventions as part of 12 Ballads for Huguenot House, the artist’s contribution to dOCUMENTA (13). It was a fitting gesture considering the restorative origins of the first dOCUMENTA in 1955, which reintroduced modern art to Germany after years[.....]

HELP DESK: Death & Taxes (Mostly Taxes)

Llyn Foulkes, Who's on Third?, 1971-73. Oil on canvas, 48 x 39 inches

HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to–contemporary art. Submit your questions 100% anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. Follow HELP DESK on twitter: @BeanGilsdorf I have recently been the lucky recipient of an unprecedented amount of small, but not insubstantial, payments. Some are for arts writing and[.....]

New Histories and Epic Tales: Better a Live Ass than a Dead Lion at Eli Ridgway Gallery

Continued from last week’s From the DS Archives, today we feature an article written by Daily Serving’s founding mother, Julie Henson. Both Henson and her husband Seth Curcio have been the directors of Daily Serving from its beginning, while working and maintaining their own artistic careers. Henson just finished her part of a new exhibition at San Francisco’s Southern Exposure titled Reverse Rehearsals in which[.....]

Claire Falkenberg’s Painted Apparitions

Claire Falkenberg, Cloud, 2010. Oil on C-print, 29 x 30 inches

As part of our ongoing partnership with Beautiful/Decay we bring you the painted photographs of Claire Falkenberg. Falkenberg, who lives in Brooklyn, exhibited her work in a solo show entitled Threshold at Katharine Mulherin Contemporary Art Projects in Toronto earlier this year. The article was written by Larissa Erin Greer and originally published on May 23, 2013. With a toxic mix of oil-based paint, the[.....]