Articles

William Cordova: Ceiba: Reconsidering Ephemeral Spaces at MDC Museum of Art + Design

Installed in the Freedom Tower in downtown Miami, William Cordova’s exhibition Ceiba: Reconsidering Ephemeral Spaces shares a geopolitical bond with the building in which it is located. Now a venue for Miami-Dade College’s Museum of Art and Design, the Freedom Tower’s original tenant was the Miami News & Metropolis newspaper. After a period of vacancy, it served as an immigration center for Cuban refugees fleeing[.....]

Report from Philadelphia

Cindy Stockton Moore. Installation view, Other Absences, 2014;
Eastern State Penitentiary, Philadelphia

The third-most-popular visitor destination in Philadelphia is a ruined prison: the Eastern State Penitentiary (ESP). Based on the concept of the Panopticon, in which all inmates are housed in a circular building and under the surveillance of guards in a central tower, ESP opened in 1829 and closed in 1971. At the time of its completion, the fourteen-acre complex was the largest construction in the[.....]

Help Desk: The Biggest/Littlest Decision

Louise Bourgeois.
The Curved House, 1990; Marble, 14 x 37 x 13 in.

Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to contemporary art. Submit your questions anonymously here. All submissions become the property of Daily Serving. I’ve now reached the age where the question regarding children has become increasingly relevant. To have or not to have? How does a successful artist combine her career with her[.....]

From the Archives – Raymond Pettibon: Hard in the Paint at David Zwirner

Raymond Pettibon. No Title (Where's the green...) 2010; 30 x 22 1/8 in.

Today we bring you a treat from our archives, Michael Tomeo’s review of Raymond Pettibon’s 2010 show at David Zwirner in New York. The reprinting of this review is occasioned by Pettibon’s upcoming conversation with Sonic Youth’s Kim Gordon at Strand Book Store on June 25, 2014, in which they’ll chat about his new book Raymond Pettibon: To Wit. This article was originally published on November 17,[.....]

Fan Mail: Chris Rusak

Chris Rusak. Rhetoric, 2013; acrylic on fiberglass; 9 x 10 x 7/8 inches. Courtesy of the artist.

Painting and collage are processes composed in layers—often opaque in nature, each altering or shrouding its antecedent. Traditional two-dimensional compositions begin with a canvas, then some form of underpaint, followed by a series of strata—at times scraped away and at others built up—that eventually form a composition that becomes an entirety greater than the sum of its parts. Chris Rusak’s newest works, a series called[.....]

Eric Yahnker: Sticks and Drones at Paradise Row Gallery

Eric Yahnker. Crimea River, 2014, charcoal, graphite and ink on paper, 40 x 30 in. Courtesy of the Artist.

The cleverly titled Sticks and Drones at Paradise Row Gallery is Los Angeles-based artist Eric Yahnker’s London debut. On entering the gallery, viewers are confronted with Daddy Issues (2014), a crudely carved wooden cobra with the words “Daddy Issues” lovingly wood-burned into its hood. With a sequined magenta bow on the middle of its head, it’s the Honey Boo Boo of county-fair handicrafts. “Daddy Issues”[.....]

Valuing Labor in the Arts: Negotiating Terms and Setting Precedents

Gauging the Grey Area workshop, Valuing Laboring in the Arts practicum, April 19, 2014, UC Berkeley Art Museum. Courtesy of the Arts Research Center, UC Berkeley. Photo: Joseph del Pesco.

From our partners at Art Practical, today we bring you Patricia Maloney’s response to the workshop “Gauging the Gray Area: Standards for Artistic Labor,” which was part of the practicum Valuing Labor in the Arts hosted by the Arts Research Center at UC Berkeley. Maloney notes, “…negotiation is the most demonstrable and effective means of creating agency.” This article was originally published on May 22, 2014. “Gauging the[.....]