For the Stedelijk Museum in Amsterdam to choose Mike Kelley for their reopening exhibition was, to say the least, symbolic. The Stedelijk opened its newly refurbished and expanded premises in September last year, after years (and years) of highly controversial, heavily debated and stupendously overpriced refurbishments. The enormous white bath tub that is now hovering in front of the institution’s old facade, (brainchild of Benthem[.....]

As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Bean Gilsdorf on UC Berkeley Art Museum‘s Silence exhibition. In Alan Moore’s graphic novel V for Vendetta, the main character tells his young acolyte, “Silence is a fragile thing. One loud noise and it’s gone.” On my way to the UC Berkeley Art Museum’s Silence exhibition, I had a related thought:[.....]

Born in 1962 of parents who were attached to the Chinese People’s Liberation Army, Geng Jianyi grew up in a country shaped by rigid, state-mandated structures that had, by the late 1960s to the early ‘70s, fallen a long way short of the idealistic socialist Chinese state that Mao Zedong had envisioned. Where solidary socialism was intended to create commitment to the system by way[.....]

Artist Jeremy Bolen brought back a lot of pictures from his trip to Geneva, Switzerland last year, which are currently on view at Andrew Rafacz Gallery in Chicago. Bolen’s one-man show titled CERN, features conceptual photography that is driven by unique processes of exposing film, processes which point toward challenging questions about the veracity of art. The Geneva photos aren’t exactly your standard images of a bucolic European countryside,[.....]

A few weeks ago, Chicago-based contributor, Randal Miller, addressed the role of images in relation to national tragedy — arguing that the images of horror and loss perpetuated by the media do little to incite lasting change – in a piece for DailyServing entitled Where Images Fail: Newtown Connecticut. Today we are sharing some responses that came through our media partner, Art Practical, who republished the[.....]

The first time I saw New Year’s Day Swimmers, the current exhibition at Altman Siegel Gallery in San Francisco, I didn’t mean to. I intended to pop into the gallery to drop something off, but as soon as I crossed the threshold I was completely captivated by the works and forgot everything else I was supposed to accomplish by my visit. Floating through the gallery,[.....]

In December of 1968, Seth Siegelaub and Jack Wendler published The XEROX BOOK, an exhibition produced entirely in book form. The project included seven contributing conceptual artists: Carl Andre, Robert Barry, Joseph Kosuth, Sol LeWitt, Douglas Huebler, Robert Morris and Lawrence Weiner. The Kadist Art Foundation in San Francisco recently spoke to Jack Wendler about The XEROX BOOK offering a unique glimpse into the history[.....]