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Bringing Art Into Being: Drawing Redefined at deCordova

Installation view, ‘Drawing Redefined: Roni Horn, Esther Kläs, Joëlle Tuerlinckx, Richard Tuttle, and Jorinde Voigt,’ deCordova Sculpture Park and Museum, Lincoln, MA, Photograph by Clements Photography and Design, Boston.

From our friends at Big Red & Shiny in Massachusetts, today we bring you a review of the exhibition Drawing Redefined at deCordova Museum. Author Shana Dumont Garr says of the exhibition, “The works by these five artists were arranged to consider an expanded definition of drawing engaging process, materials, and time. This premise arms viewers with a consistent framework to engage with the work,[…..]

From the Archives – The Anti-Spectacle Generation

Leslie Hewitt, "Make it Plain, (2 of 5)", 2006.

Today, in honor of Dr. Martin Luther King Jr., we bring you Catherine Wagley’s review of the exhibition After 1968: Contemporary Artists and the Civil Rights Legacy. Following the author’s analysis of generational differences in attitudes towards protesting, it’s clear that although the featured artists came of age in a world devoid of Dr. King, the impact of his life’s work nonetheless resounded powerfully. This article[…..]

Body Politic: Jill J. Tan interviews Eiko Otake

Photo: William Johnston. Courtesy of the Artist.

Eiko notes in the following interview, “I am using my body as a constant.”

Locating Technology: Raiders and Empires

Stephanie Syjuco. RAIDERS: International Booty, Bountiful Harvest (Selections from the Collection of the A____ A__ M_____) (installation view), 2011; digital archival photo prints mounted onto laser-cut wood, hardware, crates; dimensions variable. Courtesy of the Artist and Catharine Clark, San Francisco.

From our partners at Art Practical, today we bring you Genevieve Quick’s most recent “Locating Technology” column, a consideration of artist Stephanie Syjuco’s process and practice: “[Syjuco] prompts viewers to consider more broadly the legality and ethics of museums’ collections, and suggests that museums are institutions of cultural appropriation.” This article was originally published on October 27, 2015. Much of the history of museum collections is related to[…..]

From the Archives: Interview with Judith Bernstein

QUATTRO CUNTS 2015 Oil on Canvas 84 x 84 Inches

Today from our archives we bring you Elspeth Walker’s refreshingly blunt interview with painter Judith Bernstein. As we begin the new year and consider our plans for the next twelve months, it’s important to recall Bernstein’s philosophy: “[I]t’s important to be true to what you want to say and how you want to handle that. You have to keep moving forward. You can’t just stay where[…..]

From the Archives – #Hashtags: Whose Museum Is It Anyway?

Installation view of Mike Kelley at MoMA PS1, 2013. Photo: Matthew Septimus.

Here at Daily Serving, we keep an eye on the ways an exhibition’s impact changes depending on geographical location. With a recent editorial on what 30 Americans means in Detroit and December’s protest of omitting artists of color in Art AIDS America at the Tacoma Art Museum in mind, today we bring you Anuradha Vikram’s observations on shifting context, intended audiences, and racialized access to and[…..]

Vicious Circles

Mounir Fatmi. Casablanca Circles, 2012 (detail); Print on baryte paper; 35 2/5 × 47 1/5 in. Courtesy the artist and a private collection.

From our friends at REORIENT, today we bring you “Vicious Circles.” In this piece, author Samannaz Kourang Pishdadi talks with Moroccan artist Mounir Fatmi about growing up in Tangier, the inspiration of the Beat movement, and his interdisciplinary career. Fatmi says of his work, “At the beginning, I think I was very naïve thinking my work could change things. Eventually, I realised that the most important [thing][…..]