From this Author

Summer Reading – The Past Is Present: The Curatorial Act of Exhibiting Exhibitions

Alighiero Boetti with lo che prendo il sole a Torino il 19 gennaio 1969 (Me Sunbathing in Turin, 19 January 1969), 1969, from ‘When Attitudes Become Form’, Kunsthalle Bern, 1969 photograph: Shunk Kender, ©Roy Lichtenstein Foundation

Today’s selection for our Summer Reading series comes from our friends at un Magazine. Author Pippa Milne examines curatorial reconstruction, noting that it “emphasi[zes] the relevance of the exhibition as a singular, unified cultural and historical phenomenon; an irreducible embodiment of the relationship between curator, artist, and artwork.” This article was originally published in issue 7.2. It sounds like an art-world joke: What do you get[…..]

Summer Reading – Juana Berrío on Tacita Dean

Tacita Dean. Day for Night, 2009; still from video.

Today we continue our Summer Reading series with an essay on Tacita Dean’s film Day for Night. Author Juana Berrío explains, “Day for Night is a term used to describe a cinematographic technique that uses a particular camera lens to turn a scene filmed during daylight into a night-scene. In other words, it’s about capturing an image and re-presenting it under a different ‘light.’ In that[…..]

Summer Reading – Up in the AIR: How Will Tech Residencies Reshape Bay Area art?

Image from Art+Tech: Virtual Reality, November 2014. (Photo: Codame).

Continuing our Summer Reading series, today we bring you an article on residencies offered by tech companies. Authored by Ceci Moss and originally published on Rhizome on January 20, 2015, the article asks, “If tech is the Bay Area’s main industry and export, with its emphasis on making, creating, and, above all, innovative design, then how can (or should) that translate into the art infrastructure here,[…..]

Summer Reading – Burn the Maps

Emmet Byrne. Illustration for Mn Artists and Walker Art Center, n.d.

Today’s article for our Summer Reading series comes from our friends at Mn Artists. Matthew Fluharty, founder and executive director of Art of the Rural, discusses “the dividing lines between country and city spheres… [and] makes a case for rejecting calcified notions of ‘rural art.’” This article was originally published on July 23, 2015. It is significant that the common image of the country is now an image of[…..]

Summer Reading – Entire First-Year MFA Class Drops Out in Protest at the University of Southern California


Today’s selection for our Summer Reading series comes from DS West Coast regional editor Vivian Sming, who notes: “It’s back-to-school season, and Matt Stromberg’s coverage of USC’s en masse MFA drop out remains a topical discussion, as academic institutions increasingly restructure their focus toward administration.” This article was originally published on Hyperallergic on May 15, 2015. Citing “the University’s unethical treatment of its students,” the[…..]

From the Archives: Pierre Huyghe at LACMA

Pierre Huyghe. Untitled (Human Mask), 2014. Film. Courtesy of the artist; Hauser and Wirth, London; Marian Goodman Gallery, New York; Esther Schipper, Berlin; Anna Lena, Paris. © Pierre Huyghe

This month marks the opening of the first major Australian solo exhibition of Pierre Huyghe’s work at the TarraWarra Museum of Art, so today we revisit this review by Alex Bigman, who assesses the humor and mythology of Huyghe’s retrospective at the Los Angeles County Museum of Art. This article was originally published on January 21, 2015. There is a scene in Pierre Huyghe’s shadowy, dreamlike film The Host and[…..]

Summer Reading – No one cares about art criticism: advocating for an embodiment of the avant-garde as an alternative to capitalism

Jenny Holzer. You are a victim of the rules you live by, n.d.

Today we continue our Summer Reading series with an essay on art criticism and poetry from our friends at Temporary Art Review. Author Steven Cottingham throws down a challenge: “How can art criticism be so close to art but fail to reflect any of its spirit? […] Maybe there is a future where art criticism is no longer a supplementary, reactionary activity. Maybe it can become revolutionary.”[…..]