Art Basel Miami Beach runs from December 5 to 8 this year, so now that we’re done with turkey and family, it’s time to crate up the artwork and enter the commercial fray. Today we bring you a look back at the 2012 fair, courtesy of gallerist and writer Catlin Moore, who gives you the insider’s scoop on the concerns that drive the curatorial decisions[.....]
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At 6 a.m. on December 13, 1981, General Wojciech Jaruzelski appeared on Polish television to declare martial law in effect throughout the country. Following his edict, for the next two and a half years citizens were stripped of their civil liberties: All borders and airports were closed, public gatherings were banned, independent organizations were declared illegal, and travel between cities required permission.* Curfew was imposed, and[.....]
After the Smithsonian’s G. Wayne Clough decided to remove David Wojnarowicz’s film A Fire in My Belly from the exhibition Hide/Seek: Difference and Desire in American Portraiture, Wojnarowicz became a household name and a cultural touchstone, to the point where Vanity Fair can now glibly claim, “Right-wing America will be begging for David Wojnarowicz…” and expect its readers to get the joke. In September, Clough[.....]
Three powerful women dressed in patterned sundresses, jewelry, and club-ready makeup are seated on a jumble of printed fabrics, fake flowers, and gold spray-painted fruit. Their pose is a familiar one, mimicking Edouard Manet’s scandalous—at the time—Le Dejeuner sur l’Herbe (1862-3), except in this one all posers are clothed, female, black, and staring at me as though they were sussing me up—trying to discern my[.....]
Today From the DS Archives we bring you a post on one of William Kentridge‘s highly regarded video pieces “Black Box/Chambre Noire.” His work is currently on view at Marian Goodman in New York and will be up through October 26. The following article written by Georgia Haagsma was originally published on September 12, 2012. At the end of William Kentridge’s miniature theatre piece Black Box/Chambre[.....]
I remember the first time I learned about Yves Klein in art history class. It was one of those moments (and I had many during that course) where I not only chuckled and admired the artist’s audacity but thought, “If only I could have been there to see this myself.” For Yves Klein’s work, this, of course, is the premise of its strength. Having an[.....]
Bean Gilsdorf is on the road this week—look for her reports from Krakow and Warsaw in October—so today we bring you a reprint of a column from July 23, 2012. Submit your questions to HELP DESK anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. HELP DESK is co-sponsored by KQED.org. I work for a commercial gallery space and have been approached by[.....]