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Best of 2014 – Self-Taught Genius at the American Folk Art Museum

Purvis Young. People Celebrating, 1990s. Mixed Media on wood; 49 x 34 1⁄2 x 5”. Collection American Folk Art Museum, New York. Gift of Gordon W. Bailey in honor of Anne Imelda Radice. Photo by Adam Reich, New York.

As we continue our look back over the year, today’s Best of 2014 selection comes from Kara Q. Smith, the managing editor of our partner site Art Practical. Kara writes, “Lia Wilson’s review of Self Taught Genius gives attention to an oft-overlooked, or mis-represented, area of contemporary art (not to mention venue). Lia engages directly with the larger contexts surrounding not only the art, but the exhibition[…..]

Best of 2014 – Jeff Koons: A Retrospective at the Whitney Museum of American Art

Jeff Koons, Michael Jackson and Bubbles, 1988. Porcelain; 42 x 70 1⁄2 x 32 1⁄2 in. (106.7 x 179.1 x 82.6 cm). Private collection. © Jeff Koons

Today we continue our countdown to the New Year with a selection by regular contributor Matt Stromberg, who explains, “The Whitney’s Koons Retrospective was one of the most talked-about shows of the year. Few write-ups, however, went beyond lauding him as a populist Pop perfectionist, or lambasting him as the personification of a bloated, speculative art market. Alex Bigman’s review offers a more nuanced appraisal, thoughtfully[…..]

Best of 2014 – #Hashtags: Sweet and Low

Kara Walker. A Subtlety, 2014. Site-specific installation at Domino Sugar Factory, Brooklyn, NY. Commissioned by Creative Time. Photo by Rajath Vikram.

Here at Daily Serving we count down the days to the New Year by presenting you with our best writing from the outgoing year. Our first selection, from our 2014 #Hashtags column, comes from Lia Wilson: “Anuradha Vikram’s investigation of Kara Walker’s The Marvelous Sugar Baby is an incredibly deft navigation of the entanglement of race, gender, class, labor, capitol, and representation operating within the work[…..]

Moving Walls 22 / Watching You, Watching Me at Open Society Foundations-New York

Mishka Henner. Dutch Landscapes, 2011;
Archival pigment print.

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, Mary Coyne reviews Watching You, Watching Me at Open Society Foundations in New York City. Edward Snowden’s revelatory findings of pervasive surveillance by the NSA fundamentally changed[…..]

On Collecting: Breaking the Borderlands of Function

Hans Coper. Vase without and with flowers; ceramic, 8 x 6 x 4 inches. Courtesy of Jeffrey Spahn Gallery.

Today from our partners at Art Practical, we bring you Djinnaya Stroud‘s recent profile of three collectors whose acquisitions include functional works. Stroud explains, “The need to understand an object through its use drives many people who would never have been art collectors to amass functional work.” This essay was originally published on December 10, 2014. The term “non-functional art” isn’t satisfying as an antonym for functional[…..]

Interview with Tercerunquinto

TercerunQuinto

Today from our friends at Kadist Art Foundation, we bring you curator Michele Fiedler’s interview with Tercerunquinto. The group, comprising artists Julio César Castro Carreón, Gabriel Cázares Salas, and Rolando Flores Tovar, discusses collaboration, power, architectural intervention, and “social and urban development.” 

From the Archives – Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum

David Hammons. The Door, 1969; wood, acrylic sheet, and pigment construction, 79 x 48 x 15 in. Courtesy of Collection of Friends, the Foundation of the California African American Museum, Los Angeles.

Today from our archives, we bring you Lia Wilson’s review of a recent exhibition at the Brooklyn Museum. Wilson explains the importance of this exhibition: “Witness does the essential and painful work of revealing how an inadequate visual cultural record can come to mirror inadequate social reform. There can be no greater demonstration of the need for a more diverse and inclusive art-historical canon and[…..]