Fiber arts

AFRICOBRA: Philosophy at the Logan Center

Barbara Jones-Hogu, "Unite," 1968-71; screenprint; 25.5 x 35 in. Courtesy of the artist and Logan Center for the Arts.

The assembly of works by AFRICOBRA (African Commune of Bad Relevant Artists), a collective of African American Chicago-based artists active during the 1960s and 1970s, now on display at the Logan Center for the Arts could fairly be described as a time capsule; it is more important for the moment it captures than for its contents. In addition to this exhibition, titled AFRICOBRA: Philosophy, the collective currently has two other[.....]

#Hashtags: Punk Is Dead, Long Live Punk

27. Gallery View_430 Kings Road Period Room

#punk #institutions #historicity #commerce #style Is the Metropolitan Museum of Art’s Punk: Chaos to Couture the death knell of punk as a social and cultural movement? Certainly, the Met’s assertion that the locus of punk’s importance is in its influence on high fashion would indicate that it is no longer relevant to these larger concerns. The A-list attendees at May’s opening gala were decidedly mainstream[.....]

Craft is Not Dead

Sabrina Gschwandtner, “Hula Hoop,” 2010. 16mm film and polyamide thread. Smithsonian American Art Museum, Gift of Chris Rifkin in honor of the 40th anniversary of the Renwick Gallery. Photo by Sabrina Gschwandtner.

What defines the art of craft? What is the difference between art and craft? 40 Under 40: Craft Futures at Smithsonian’s Renwick Gallery blurred the lines for me, while at the same time helping me to appreciate craft in a new light. There is something about the word “craft” that connotes antiquated techniques that don’t necessarily relate to our contemporary world. This exhibition breathes new[.....]

Holding Up Half the Sky: An interview with Lin Tianmiao

After seeing Bound Unbound, the major retrospective show of Lin Tianmiao’s work at the Asia Society Museum in New York I was so intrigued by how such work could emerge from the testosterone-fuelled Chinese artworld in the late 90s that I decided to seek her out in Beijing to ask her what it’s like to be pretty much the only female artist in China to[.....]

Form is the most political

We are thrilled to bring you a review of Liu Wei’s recent solo exhibition at Long March Space, from our partner ArtSpy, a website based in Beijing, P.R.China that is committed to establishing a platform for global artistic information. This article was originally written for ArtSpy and has been translated exclusively for DailyServing. This new exhibition is divided into two sections. One presents a continuation of previous[.....]

We Like STATIC

Static, Luxury Vandals MMXI, 2011. Five color screen print , 220 gsm Mirriboard, 46 x 46 cm. Edition: 35 (per color variant).

Long entrenched in British literary tradition, parody, pastiche and caricature have, more recently, been revived in contemporary British urban art. Street artist Banksy’s foray into social criticism of war, art world commercialism and totalitarianism (just to name a few) or Mau Mau’s sprawling colourful murals, elaborately scrawled on public surfaces are such notable instances of irreverent commentaries that satirise and caricaturise. A more domestic, less[.....]

“the edge between structure and intuition” – An Interview with Anne Lindberg

Anne Lindberg, "parallel 34," 2012. Graphite and colored pencil on cotton mat board. 104 x 58 inches. Courtesy the artist and Carrie Secrist Gallery, Chicago.

On a visit to the Nevada Museum of Art this summer, I first encountered the work of Kansas City based Anne Lindberg. Tucked in a small, irregularly shaped gallery, Lindberg’s luminous installation immediately caught the eye, where individual threads created volume and marked space in a way that belied its virtually imperceptible constituent parts. Her large-scale graphite drawings also on view in the gallery invited[.....]