Articles

Fan Mail: Ville Andersson

Ville Andersson. Transition (My Little Empire series), 2013; pencil on paper; 11.6 x 8.2 in. Courtesy of the Artist.

At the heart of Ville Andersson’s art practice is his early childhood desire to become an art collector. For the Helsinki-based artist, his childhood was the primer for what would become an encyclopedic passion for art. In his hometown on the remote southern coast of Finland, in an art library compiled by his mother, an art teacher, Andersson discovered a realm of imagination far beyond[…..]

Invisible Presence: Bling Memories at the Atlanta Contemporary Art Center

Ebony G. Patterson. Invisible Presence: Bling Memories, 2014; installation view, Atlanta Contemporary Art Center, Atlanta, Georgia. Courtesy of the Artist and Atlanta Contemporary Art Center.

On May 8, 2001, the funeral of William Moore, aka Willie Haggart, was a raucous affair. Abandoning the somber mood of a typical funeral, the ceremony was a giant party at the National Arena in Kingston, Jamaica. Labeling it a “celebrity event,” Donna P. Hope writes that the style of Haggart’s funeral “ruptured the sobriety and mourning associated with traditional funeral rites.”[1] With this, the[…..]

Help Desk: Why Your Show Wasn’t Reviewed

John Divola. As Far As I Could Get (R02F09), 10 Seconds, 1996-7; pigment print;
60 x 40 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. None of my shows have ever been reviewed, even though I’ve been exhibiting my work in solo and group shows for almost six years. Press releases, personal emails, and newsletters have[…..]

William Koone: 10:10 at City Limits

William Koone. 10:10, 2016; installation view, City Limits, Oakland. Courtesy of the Artist and City Limits. Photo: Kristine Eudey

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, Colin L. Fernandes reviews William Koone’s solo exhibition 10:10 at City Limits gallery in Oakland, California. For his exhibition at City Limits[…..]

Anthony Discenza Presents A Novel: An Exhibition by Anthony Discenza at Catharine Clark Gallery

Today from our partners at Art Practical, we bring you Maria Porges’ review of Anthony Discenza Presents A Novel: An Exhibition by Anthony Discenza at Catharine Clark Gallery in San Francisco. The author notes, “Achieving a successful understanding of the many layers [of the exhibition] yields a devious satisfaction.” This article was originally published on March 22, 2016. When or why does art become the idea of art:[…..]

Drew Heitzler at Parapet Real Humans

Drew Heitzler. Drew Heitzler, 2016; installation view, Parapet Real Humans, St. Louis, Courtesy of Parapet Real Humans.

A small crowd gathered within the intimate space of Parapet Real Humans, in St. Louis, waiting to hear the California-based artist Drew Heitzler deliver his artist talk on the opening night of his solo exhibition. Projected onto one of the gallery’s white paint-covered windows was a stop-motion video of the green-clay humanoid Gumby, pawing at a piano with fingerless hands. The appropriated footage had been[…..]

Bring It Home: (Re)Locating Cultural Legacy Through the Body at San Francisco Arts Commission Gallery

Zeina Barakeh. Homeland Insecurity, 2015; single channel animated video, 6:00. Courtesy of the Artist. Photo: Scott Chernis.

Today from our partners at Art Practical, we bring you an excerpt from Brian Karl’s review of Bring It Home: (Re)Locating Cultural Legacy Through the Body at the newly reopened San Francisco Arts Commission Gallery. The author notes, “Given the particularly intense struggles in the Bay Area today, where citizens are denied access to civil rights and basic resources by the structural discriminations of racialist and upward-funneling[…..]