July, 2013

With Cinder Blocks We Flatten Our Photographs at Romer Young Gallery

With Cinder Blocks we Flatten our Photographs, installation view, Romer Young Gallery, San Francisco, 2013. Courtesy of Romer Young Gallery.

With Cinder Blocks We Flatten Our Photographs, currently on view at Romer Young Gallery, includes work by San Francisco artists C. Wright Daniel, Pablo Guardiola, Jonathan Runcio, and Emma Spertus; the Los Angeles–based John Pearson; and New York–based artists Deric Carner and Letha Wilson. The press release notes as precedent curator Peter C. Bunnell’s Photography into Sculpture exhibition, mounted in 1970 by the Museum of Modern[.....]

AFRICOBRA: Philosophy at the Logan Center

Barbara Jones-Hogu, "Unite," 1968-71; screenprint; 25.5 x 35 in. Courtesy of the artist and Logan Center for the Arts.

The assembly of works by AFRICOBRA (African Commune of Bad Relevant Artists), a collective of African American Chicago-based artists active during the 1960s and 1970s, now on display at the Logan Center for the Arts could fairly be described as a time capsule; it is more important for the moment it captures than for its contents. In addition to this exhibition, titled AFRICOBRA: Philosophy, the collective currently has two other[.....]

HELP DESK: Crazy Collector

John Baldessari. Two Whales (with People), 2010; screenprint on paper, 32.25 x 23.60 inches, edition of 50

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 anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. HELP DESK is cosponsored by KQED.org. We recently sold a piece at an art fair, a photograph, the sale being the second of this particular edition. Because it was the[.....]

The Best Things in Museums Are the Windows, part 3: Observations

Quote by John Muir, at entrance to school

Today we bring you the final part of our series of interviews and observations from The Best Things in Museums Are the Windows, a project that artist Harrell Fletcher is doing this weekend with the Exploratorium in San Francisco. For up-to-the-minute information, including where you can join the group, you can follow @exploratorium on Twitter. Jordan Stein, assistant curator for the Center for Art & Inquiry[.....]

The Best Things in Museums Are the Windows, part 2: Observations

Harrell Fletcher. Documentation of project planning for The Best Things in Museums Are the Windows, 2013. Organized by the Center for Art & Inquiry, the Exploratorium, San Francisco. Photo: Christina Linden.

Today we bring you part two of a three-part series of interviews and observations from The Best Things in Museums Are the Windows, a project that artist Harrell Fletcher is doing this weekend with the Exploratorium in San Francisco. Today’s essay is written by curator Christina Linden. For up-to-the-minute information, including where you can join the group, you can follow @exploratorium on Twitter. Mount Diablo, it was[.....]

The Best Things in Museums Are the Windows, part 1: Interview with Harrell Fletcher

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For the next three days, Daily Serving is excited to bring you a series of interviews and observations from The Best Things in Museums Are the Windows, a project that artist Harrell Fletcher is doing this week with the Exploratorium in San Francisco.“The title of the piece is a quote from the painter Pierre Bonnard,” says Fletcher. “You go to a museum and look at[.....]

Experimental Photomontage at Robert Koch Gallery

Robert Heinecken. From the portfolio Recto/Verso, 1989; Cibachrome (dye destruction) photogram; 11 x 14 in. Image courtesy of Robert Koch Gallery, San Francisco.

As part of our ongoing partnership with Art Practical, today we bring you a review of Robert Heinecken and Edmund Teske’s work in experimental photomontage at Robert Koch Gallery. Author Genevieve Quick analyzes the artists’ use of appropriation and their take on gender and mass media. She notes, “…there’s always more to the message than what’s on display.” This article was originally published in May 2012. Robert[.....]