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Interview with Matt Lipps

Today from our friends at Kadist Art Foundation we bring you part one of a two-part video interview with artist Matt Lipps. Lipps has a solo show, The Populist Camera, at Jessica Silverman Gallery, now on view in San Francisco. In his talk with Kadist’s Director of Collections, Devon Bella, Lipps explains, “I effectively broke every rule of Photoshop that I have my students not do.”  [.....]

Malick Sidibé at Jack Shainman Gallery

Malick Sidibé. Pique-Nique à la Chaussée, 1972/2008; silver gelatin print, 17 x 17 in. (image size). Courtesy of the Artist and Jack Shainman Gallery, New York.

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 Malick Sidibé’s photographs at Jack Shainman Gallery in New York City. Malick Sidibé’s photographs of Mali, Africa, at Jack Shainman Gallery, New York, are an ethnographic[.....]

Arlene Shechet: Meissen Recast at RISD Museum

Arlene Shechet, Overflow, 2012. © Arlene Shechet. Courtesy of the artist.

Today from our friends at Big Red & Shiny, we bring you a review of Arlene Shechet‘s new works in porcelain at the RISD Museum. Notes author Anya Ventura, “Shechet frees the medium from its servitude to the decorative, allows it to be matter again, draws it back to the body, and puts it in play as a sculptural element.” This article was originally published on April[.....]

On Laboring for Love

Shannon Finnegan. 8 Hours of Work, 2012 (performance still); Saturday, June 9, 2012, 11 a.m.–7 p.m. Presented by Recession Art in conjunction with Everything Is Index, Nothing Is History at the Invisible Dog, Brooklyn. Courtesy of the Artist.

Today from our partners at Art Practical, we bring you another installment from their excellent issue on valuing labor in the arts. In this essay, author Elyse Mallouk (also an artist) notes, “While artists struggle publicly to make the value of art work visible, they are bound as a corporate body by the uncertainties and sacrifices they share in common… Artists can gain power by[.....]

Notes on Visual Activism

Conference attendees participating in Carmen Papalia's Blind Field Shuffle (2014).

Today from our partners at Art Practical, we bring you four different views on the recent Visual Activism conference, hosted by SFMOMA at the Brava Theater, March 14–15, 2014. Artists, curators, and scholars presented their thoughts on institutional domains, art, and activism. Four visual critics, Danielle Jackson, Natalie Catasús, Colin Partch, and Omar Mismar, were situated at points radiating out from the auditorium of the Brava Theater[.....]

From the Archives – An Interview with Anne Lindberg

Anne Lindberg. parallel 34, 2012; Graphite and colored pencil on cotton mat board. 104 x 58 in. Courtesy the artist and Carrie Secrist Gallery, Chicago.

Today from the archives we bring you an interview with artist Anne Lindberg, who often works with drawing, photography, sculpture, and installation, “always seeking to push the boundaries of what is considered a drawing.” Lindberg has a solo show opening soon at Haw Contemporary in Kansas City. This article was written by Allie Haeusslein and originally published on September 18, 2012.  On a visit to the[.....]

Value/Labor/Arts: A Primer

Anna Gray + Ryan Wilson Paulsen. 100 Posterworks, 2009-2013; printed poster; 11 x 17 in. Courtesy of the Artists.

“When is it okay to work for free? Is it acceptable as long as you’re working with—or for—another artist? What is an artistic service?” These are some of the questions raised by Shannon Jackson, director of UC Berkeley’s Arts Research Center, in her introduction to Art Practical‘s latest issue, Valuing Labor. She notes, “These are just a few of the hundreds of questions circulating for artists working in the 21st-century[.....]