L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Two years ago, I met this guy, an artist from New York who was in L.A. to collaborate with an Indie rocker. I met him the day I was rendezvousing with someone I’d met through Twitter — we both wrote about art-like things, had similar taste, knew some of the same people[.....]

As part of our ongoing partnership with Art Practical, Daily Serving is sharing Bean Gilsdorf’s article on Alice Shaw’s Landscape Update, at Gallery 16 in San Francisco. The profusion of works and materials in Alice Shaw’s Landscape Update at Gallery 16 leaves viewers with the impression of a frenzy. The twenty-six works on view are made from an exhaustive array of media: paintings of oil and[.....]

The difficulty in viewing photographs of artwork is that the camera flattens the object in its focus, relinquishing subtleties in order to capture a whole. Because his oeuvre is very subtle indeed, Mark Bradford’s work requires a viewer’s presence to be fully appreciated. Very little of the slender lines of collage, delicate papers built up in thin layers or washes of paint almost completely sanded[.....]

There is always someone who is offended by every biennial. They are inherently two-headed beasts, with the introspective head judging the strengths and weaknesses of a portion of the art world, while the extroverted head optimistically presents a narrative, declaring why the included artists are notable. For this year’s DeCordova Biennial, curators Dina Deitsch and Abigail Ross Goodman followed tradition by programming a regional Biennial[.....]

Comprised within two of Matthew Marks Gallery’s Chelsea locations, Cricket Music, Tessellation Figures & Notebook presents Terry Winters’ most recent paintings and collages to make their debut in the United States. In an impressive selection of 14 large-scale paintings, Winters’ patterned canvases display brilliantly pigmented tessellations in an array of lattice structures. Also working from a fascination with knot theory, the works posses a lyrical[.....]

Monika Fryčová’s show Perpetuum Mobile at the Kling og Bang Gallery propositions that the relationship between the visible and invisible is constantly in motion and ephemeral. Locked behind the socialist borders in then-Czechoslovakia, stories of local culture were the only narratives that Fryčová heard. Like many artists who were restless for new physical activity and renewed visions after the fall of the Iron Curtain, Fryčová[.....]

More a thoroughfare between the institutional offices and educational spaces than destinations, the second and third floor galleries at the Museum of the African Diaspora (MoAD) can be, at times, unforgiving display spaces. Nevertheless, as an institution, MoAD consistently presents exhibitions that expand one’s notions of race and identity. One need only to look at last year’s “African Continuum: Sacred Ceremonies and Rituals,” which contrasts[.....]