August, 2013

SFMOMA Is On the Go: Five Reasons to Track It Down

As part of our ongoing partnership with KQED, today we bring you a look at how SFMOMA is continuing to produce exhibitions and events even though the museum will be closed until 2016. While there’s no denying that this is a hardship for San Francisco’s art community, it’s also an opportunity for SFMOMA to become a more flexible institution that works beyond the boundaries of[.....]

Animal Dreams: A Conversation with Melissa Miller

Melissa Miller. Cluster, 2003; oil on canvas; 40 x 40 in. Courtesy of the Artist.

Texas-based artist Melissa Miller is widely known for her expressionistic paintings that use animals as metaphors for human dramas and dilemmas. Her recent works focus on the many ways humans are altering animal habitats and behavior. Miller’s work will be featured in a solo exhibition at the Talley Dunn Gallery, in Dallas, in January 2014, and in a group show at the Martin Museum of Art, at Baylor University in Waco,[.....]

The Dark Side of Mickey Mouse: Llyn Foulkes at the New Museum

Llyn Foulkes. Pop, 1985-90; mixed media with soundtrack; 84 x 123 x 3 in. Courtesy of the artist's website.

Llyn Foulkes ranks among that rare cadre of artists for whom fame is an optional extra. Over the course of his fifty-year career, the Los Angeles–based multimedia artist and musician has experienced periods of success—for his monumental Pop-influenced paintings of rocks and, decades later, for his zany, large-scale narrative tableaux. But much of his work has been met with silence from critics and buyers, allowing[.....]

BUSTER SIMPSON // SURVEYOR at the Frye Museum of Art

Buster Simpson.

The artist’s hand is evident from the moment you walk into BUSTER SIMPSON // SURVEYOR, the first comprehensive survey of the Seattle-based artist’s forty-year career, now on view at the Frye Museum of Art. Simpson has chiseled the exhibition title’s two parallel lines into the gallery wall (on which the rest of the title is painted), like a giant trail marker or series of bite[.....]

Cripplewood at the Venice Biennale

It takes a moment for my eyes to adjust. It’s dim and dank in here, despite the warmth of the Venetian summer. A long, gnarled mass lies sprawled across the length of the floor; in the gloom of the pavilion its flesh seems luminous. In places, its limbs are bound with rags. Sometimes they rest on threadbare cushions. It’s a fallen tree, but it seems[.....]

Help Desk: Pressure to Review

Ken Price. Liquid Rock, 2004; Acrylic and ink on paper; 17 3⁄4 x 13 7/8 in. Courtesy Matthew Marks Gallery

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. I’m a new arts administrator, and I live in [a mid-size city]. Through my four years of art school here and my job, I[.....]

Eugene Isabey: Fishing Village at the Legion of Honor

Caption: Eugene Isabey. Fishing Village, 1854-8155; oil on canvas; 53.7 x 35.43 in. Collection of the Art Museum at the University of Kentucky. Courtesy of the Athenaeum.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses (250–400 words) to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information.  This week’s Shotgun Review was written by Irene Gerenrot, who participated in Art Practical’s March 2012 Art Smarts writing workshop for middle-school students, produced in conjunction with 826[.....]