Fiber Arts

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[…..]

Weaving, Not Cloth: Mark Bradford

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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[…..]

EWX: Material Matters at the Courtauld Institute of Art

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    There is a specific joy that flares when a familiar space is reanimated by art—whether it’s public sculpture appearing at a junction travelled through often, like the new fourth plinth in Trafalgar Square, or something as quiet as a different postcard image on an office bulletin board—it’s a little visual jolt for a view that’s become tired. When I first arrived at the[…..]

Exhibition #4: Wrap your arms around me

I have always had a soft spot for the Museum of Everything – it was their self-prophetic name and bizarre doodles that first won me over, and the witty banter of their newsletter that has sustained the affair since. With last year’s always numbered, never titled, Exhibition #3 featuring a funhouse of circus-cum-taxidermy as curated by Sir Peter Blake, it was with great anticipation that[…..]