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From the Archives – Help Desk: Padding the Resume

Oscar Tuazon. Sensory Spaces, 2013; installation view, Museum Boijmans Van Beuningen, Rotterdam. Courtesy of Museum Boijmans Van Beuningen. Photo: Studio Hans Wilschut.

Today from our archives we bring you a Help Desk column that never goes out of style. To submit your question anonymously, follow this link. All submissions become the property of Daily Serving.  Artists are routinely asked to donate work toward the benefit of an organization. I have reached the point where I am just not sure how my participation ranks along with my overall exhibition[.....]

Issei Suda: Life in Flower 1971–1977 at Miyako Yoshinaga

Oume 1977

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, Bansie Vasvani reviews Issei Suda: Life in Flower 1971–1977 at Miyako Yoshinaga in New York City. Using a medium-format camera, Issei Suda’s square-shaped black-and-white[.....]

Cynthia Ona Innis: Shift at Traywick Contemporary

Cynthia Ona Innis.
 Shift, 2014; acrylic and satin on canvas; 
45 x 50 in. Courtesy of the Artist and Traywick Contemporary, Berkeley.

Our partners at Art Practical are celebrating their sixth annual Shotgun! issue, so today we bring you Maria Porges’ review of Cynthia Ona Innis: Shift at Traywick Contemporary in Berkeley, California. This article was originally published on September 25, 2014. Rather than being representations of place, Cynthia Ona Innis’ paintings are evocations of the experience of landscape. Innis favors locations where change is visible and constant—like Iceland, where she visited a year[.....]

Carving Through Borders at Galería de la Raza

Oree Originol. Untitled, 2014; wood, ink, and paper; 7 x 3 ft. Courtesy of the Artist and Galería de la Raza, San Francisco.

Congratulations to our partners at Art Practical on their sixth annual issue of Shotgun Reviews! Today’s review is from Matthew Harrison Tedford, who offers an assessment of the exhibition at Galería de la Raza in San Francisco: “At a time when the U.S. political system is failing to address immigration and when millions of American families risk being uprooted, Carving Through Borders offered a much-needed platform for conversation.” This article[.....]

#Hashtags: Black Futurism: The Creative Destruction and Reconstruction of Race in Contemporary Art

nuri Kahiu. Pumzi, film still, 2009. Courtesy Focus Features Africa First Short Film Program.

#blackness #afrofuturism #identity #agency #mobility Today we’re partnering with our friends at ART21 Magazine to bring you Nettrice Gaskins‘ excellent consideration of “Black futurism as a form of creative expression [that] pushes against the conventional limits of black subjectivity.” This article was originally published on June 24, 2014, in the “Future” issue of ART21 Magazine. For the online research project Liquid Blackness, Alessandra Raengo reflects on[.....]

Kenturah Davis: Narratives and Meditations at Papillion

Kenturah Davis. Narrative IV, 2014; grease pencil on paper, Wenge wood box; 75 x 54 in. Courtesy of the Artist and Papillion, Los Angeles.

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, Anna Martine Whitehead reviews Kenturah Davis: Narratives and Meditations at Papillion in Los Angeles. As an artist playing with the limits of realism, Kenturah Davis points to[.....]

Women in Performance: Rigorous Ecstasy – Language & Performance, Part I

Carolee Schneemann. Correspondence Course (triptych), 1980/1983, self-shot silver prints mounted on silk-screened text; 30 x 20 inches. Courtesy of the Artist and PPOW Gallery, New York. © Carolee Schneemann.

Today from our friends at Art Practical, we bring you the first installment of the new column “Women in Performance,” which kicks off with an interview between author Jarrett Earnest and artist Carolee Schneemann. To quote from the column’s introduction: “Impelled by painting, Schneemann has plumbed the history of images, embodiment, and language since the 1950s, creating pioneering performances, films, installations, sculptures, and drawings. This two-part interview focuses[.....]