Curators

Easing the Burden of Truth

L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley My sister, who is on a Fulbright in Thailand and living in a small village in the Uttaradit Province, realized a week ago that she needed a haircut. This was nerve-wracking. There were cultural differences and language barriers involved, and nothing makes you crabbier than a haircut that isn’t right. She asked[.....]

The 2012 Whitney Biennial: A Rehabilitated Production

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The beginning of March sees New York erupt in an art world flurry with the 75th Whitney Biennial igniting the itinerary for the next couple months of art fairs, large-scale exhibitions, auctions, and not least of all, the parties that accompany such events. Presented by Elisabeth Sussman and Jay Sanders, who formed a fortuitous curatorial duo, the 2012 Biennial shone brighter than the previous Biennial[.....]

Eugenia is coming: LAND shows off Eugenia Butler in “Perpetual Conceptual”

It’s been said that over the course of four short years – from 1968 to 1972 – the Eugenia Butler Gallery set the bar for conceptual art in Southern California. Butler, whose own mother fled home to work as a Harvey Girl, left Bakersfield, CA, to serve in the United States Marines, eventually becoming a Master Sergeant. After the war, Butler married James Butler, a[.....]

#Hashtags: The Culture of the Copy

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#Hashtags: Viral Thoughts on Politics, Arts, and Culture #Hashtags provides a platform for longer reconsiderations of artworks and art practices outside of the review format and in new contexts. Please send queries and/or ideas for future to hashtags@dailyserving.com. “Cameras are the antidote and the disease, a means of appropriating reality and of making it obsolete.” – Susan Sontag In her 1977 essay, “The Image-World,” Susan[.....]

Act. Repeat. Suspend. Sharon Lockhart’s Lunch Break at SFMOMA.

The stairway to the fourth floor of the San Francisco Museum of Modern Art leads me directly toward a long, narrow, darkened space, at the end of which is the image of another, much longer, passageway. In that image, a concrete floor below and light fixtures above trace a trajectory toward infinity punctuated by pipes, wires, hoses, storage boxes, tools, and lockers. The scene is[.....]

Collected: Stories of Acquisition and Reclamation

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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[.....]

State of Independence

It’s the end of an era here in Los Angeles: the era of Clara.  August 1, 2011, marks the day that Clara Kim, the outgoing gallery director and curator of Los Angeles’s REDCAT, officially begins her new post as Senior Curator of Visual Arts at the Walker Art Center.  Minneapolis’s gain is Los Angeles’s loss. Over the last eight years, Kim has focused on contemporary[.....]