Shreveport is a border town at the crossroads of Arkansas, Louisiana, and Texas. The city is known for its musical history—the term “Elvis has left the building” was coined there. But Shreveport also suffers from crippling issues of injustice. Shreveport prosecutors use peremptory challenges to bar people of color from juries, and juries in Caddo Parish “now sentence more people to death per capita than[…..]
As contemporary art seems to be increasingly the province of the 1%, with continual record-breaking auctions, it may be difficult to appreciate the revolutionary origins of modernism. Early 20th-century art movements like Constructivism, Futurism, and Dada sought an aesthetic, social, and political break with the past, often with utopian goals for the future. A trio of solo shows at Commonwealth & Council aim to reinvigorate[…..]
Here at Daily Serving, we’re thankful for you—our fantastic community of writers, editors, and readers—and for the labor of arts workers around the world who enrich our lives every day. And while we celebrate, we’ll also be thinking of the arbitrariness of national borders, and of people who move toward a better life and are greeted with compassion and hospitality.
Framed against a starlit sky, two female figures with feathered hair and large, limpid eyes sit astride blue and purple kangaroos. Their lush, naked bodies are stark white against a vibrant canvas of marks, lines, and dots. They stare out of pictorial space into an unknown distance, with their detached gazes separated from the viewer’s own perusal of them. Disengaged from us, their distance forms[…..]
The Henry Art Gallery in Seattle opens two exhibitions, Franz Erhard Walther: The Body Draws and Pae White: Command-Shift-4. The featured artists—albeit separated by 24 years and 5,600 miles—create a compelling juxtaposition, revealing shared interests in graphic art, architecture, and fiber as mediums that shift between sculpture and performance. Both artists produce works that are liminal and in flux—forever making and remaking themselves through direct interaction.[…..]
Using strategies of asymmetry and organic mirroring, Julia Westerbeke explores abstraction as a vehicle of human imagination and a catalyst for subconscious thought. The artist cites science fiction and the biology of natural forms as two of her main sources of inspiration, and her paper-based explorations evoke a certain duality inherent within organic life—the ordinary morphing into the extraordinary, the mundane inspiring spurts of wonder.[…..]
Not many things are more difficult than articulating love. Displaying a lack of temperance can appear obsessive, while showing any sign of hesitance can be mistaken for a number of unintended things. Every so often, an individual demonstrates the ability to toe the line so eloquently and sincerely that the outcome is a lesson in expert labor. Ellen Lesperance’s exhibition We Were Singing at Adams[…..]