admin

From this Author

Do Ho Suh: Rubbing/Loving at Lehmann Maupin

Do Ho Suh. Rubbing/Loving Project, 348 West 22nd Street, Apt. A, New York, NY 10011, 2013-14; installation view, Drawings, 2014. Courtesy of the artist and Lehmann Maupin, New York and Hong Kong. Photo: Elisabeth Bernstein.

Do Ho Suh’s Rubbing/Loving Project: 348 West 22nd Street, Apt. A, New York NY 10011, is a personal project of love and memory, but in the end it denies the viewer access to the artist’s interiority that it seems to promise. Currently on display at the Chelsea outpost of Lehmann Maupin, the work records the artist’s former New York apartment through a series of painstakingly[.....]

In ___ We Trust: Art and Money at the Columbus Museum of Art

Claire Fontaine. This Neon Sign Was Made By..., 2009; Back-painted neon, 6400k glass, cables, fixtures and transformers; 19 11/16 x 118 1/8 in. Courtesy of the artist and Metro Pictures, New York. Photo: Erin Fletcher

Curator Tyler Cann’s In ___We Trust: Art and Money is a fresh and imaginative approach to exhibition-making. The title definitively removes higher moral or spiritual motives—so often claimed in art making—from the framework of the exhibit, and it seems especially fitting that Andy Warhol, a lover of all things material and monetized, opens the show. Hanging on the first wall are three works: the print One[.....]

From the Archives – #Hashtags: Divide//Conquer: Artists Confront the Gentrification of Urban Space

Mail Order Brides/M.O.B. (Jenifer Wofford, Reanne Estrada, Eliza Barrios). Manananggoogle, 2013. Multimedia installation including website and photographs. Commissioned by the San Jose Museum of Art with support from The James Irvine Foundation and MetLife Foundation.

Today from the archives we bring you a look back at Anuradha Vikram’s assessment of gentrification, power, and artistic protest. She notes, “The great tragedy of gentrification—which its proponents appear not to recognize—is that groups that are displaced can never be reunited in another, more affordable location.” This article was originally published on October 21, 2013. #gentrification #displacement #race #class #technology #industry #neo-colonialism To understand[.....]

Ehren Tool: One Death Is a Tragedy at Pro Arts Gallery

Ehren Tool’s cup-throwing demonstration; Frank Ogawa Plaza, Saturday, Oct. 11, 2014; Pro Arts Gallery, Oakland, California. Courtesy of the Artist and Pro Arts Gallery. Photo: Amanda N. Simons.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Amanda N. Simons reviews Ehren Tool’s solo exhibition One Death Is a Tragedy at Pro Arts Gallery in Oakland, California. Ehren Tool’s 2 x 2 Solos[.....]

Everything is Intertwined: Jay Kinney’s Gnosis Magazine

left to right: Bijou Funnies #1 (Fall 1968), illustration Jay Lynch;
page from Bijou Funnies #1 (Fall 1968) [all images courtesy Jay Kinney]

On Wednesday, the forty-eight-year-old San Francisco Bay Guardian announced that it would shut its doors, effective immediately. A report on the Bay Area blog SFist quotes SFBG publisher Glenn Zuehls as saying, “Unfortunately, [...] the obstacles for a profitable Bay Guardian are too great to overcome.” This, despite the SFBG’s wide popularity and the vast wealth that exists in the region.  The circumstances of this terminus are echoed in an interview between Art Papers‘ Editor/Artistic Director[.....]

From the Archives – Taner Ceylan: Lost Paintings at Paul Kasmin Gallery

1881-600x418

Today we look back to exactly where we were a year ago: contemplating the work of Turkish painter Taner Ceylan. Although author Alex Bigman likens many of the works to high-gloss fashion spreads, he notes: “A touch of vulgarity remains, and it’s hard to imagine these works having much political charge without it.” This article was originally published on October 16, 2013. Taner Ceylan’s Lost[.....]

From the Archives – Help Desk: On Being “Discovered”

Philippe Parreno, La Batalla de los Patos, a documentary project with Rirkrit Tiravanija, 2003, 2013. Screenprint, printed in phosphorescent ink, 39.5 x 55.5 inches, edition of 6

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. All submissions become the property of Daily Serving. I’m just about to finish my first really serious series of paintings, and I’m curious about which approach is the best for self-promotion. Is it better to go all out and[.....]