Today from our sister publication Art Practical we bring you Ashley Stull Meyers’ article from issue 8.3: Art can’t do anything if we don’t. Meyers discusses the collecting institution’s role in politics and protest, exploring “what, how, and to what ends our cultural institutions collect,” specifically in regard to protest ephemera. This article was originally published on March 23, 2017. January 21 of this year was a[…..]
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Today we honor the life and work of Leigh Markopoulos (1968–2017): art critic, curator, instructor, and friend and contributor to Daily Serving and our sister publication Art Practical. It is an understatement to say that Leigh was admired; she was loved in the way that only great mentors and friends are loved—fiercely, and without reservation. What follows are brief remembrances of a few of her former students[…..]
Wendy Red Star produces photographs, textile-based works, and performances that situate her womanhood and Crow heritage as ontologically intertwined. Collaborating with fellow Indigenous artists, performers of other disciplines, and her daughter, Red Star documents her various achievements in the contemporary art world through strategies that have historical ties. Ashley Stull Meyers: You have roots in Montana and Colorado. What influenced you to settle in Portland, Oregon,[…..]
Today from our friends at ARTS.BLACK we bring you the third installment of author Ashley Stull Meyers’ series Curating in an Era of Change. In this iteration of the work, Meyers interviews conceptual artist E. Jane. They discuss the internet as exhibition space, academia, and navigating the art world—and the world at large—as Black women. E. Jane states, “I think the social media feed has some Utopian possibility[…..]
As the artist’s first comprehensive retrospective moves from coast to coast, we’ve got Bruce Conner on our minds. Bruce Conner: It’s All True opened first at the Museum of Modern Art (and closed in early October) and now travels back to Conner’s old stomping grounds in the Bay Area to open on October 29 at the San Francisco Museum of Modern Art. Ashley Stull Meyers’ 2014 review of[…..]
Artist Katherine Bradford likes acrylic paint. As a material, acrylic is filled with wonder for its contradictions. Its water-soluble chemistry allows for the kind of dreamy washes that color fields and abstractions often rely on, while its water-resistant setting state is anchored and dependable. Bradford’s solo exhibition Divers and Dreamers, currently on view at Adams and Ollman, is up to the comparison of being dually[…..]
DSAP director Patricia Maloney selected today’s installment for our Best of 2015 series: “Ashley Stull Meyers doesn’t shy away from calling out an exhibition with as grand a title as The Great Debate About Art for what it leaves unexamined. The effort to determine the limits or properties of what constitutes art is a quixotic task, and Meyers acknowledges the absurdity inherent in the premise right from[…..]