Sculpture

The Lasting Concept at Portland Institute for Contemporary Art

Sara Greenberger Rafferty. Testing VIII, 2016 (detail); microphone stand and asparagus, dimensions variable. Courtesy of the artist and (gallery). Photo: Evan La Londe/WORKSIGHTED

The Lasting Concept at Portland Institute for Contemporary Art (PICA) is, by design, chronically unsure of its form. Initially conceptualized as a publication of the same name, the exhibition explores the nagging, process-driven revelation of being unable to excise a particular understanding from one’s thinking. With content that requires a method of digestion similar to reading, the exhibition’s connection to experimental publishing is evident. It’s[…..]

From Minimalism into Algorithm at the Kitchen

From Minimalism into Algorithm, Phase 2; 2016; installation view, The Kitchen. Featuring works by John McCracken, Zoe Leonard, Andrea Crespo, and Cheyney Thompson. Courtesy of The Kitchen. Photo: Jason Mandella.

In a 1966 review, Rosalind Krauss described how one of Donald Judd’s “progression” wall reliefs pulled the rug from under her. Its intervallic sequence of supporting members suggested a Renaissance colonnade, but its variable spacing negated the compositional and spatial logic that this model prepared her to expect. “The work itself exploits and at the same time confounds previous knowledge to project its own meaning,”[…..]

Help Desk: Establishing Installations

Olafur Eliasson. Seu corpo da obra (Your body of work), 2011. Installed at Moderna Museet, Stockholm. Photo: Anders Sune Berg.

Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to contemporary art. Submit your questions anonymously here. All submissions become the property of Daily Serving. How do I get started as an installation artist? Large, site-specific pieces don’t lend themselves well to collectors, or even to me developing a body of work without knowing what space it[…..]

A Pan-American Alchemy: Maria Magdalena Campos-Pons at the PEM

Maria Magdalena Campos-Pons. Alchemy of the Soul, Elixir for the Spirits, 2015. Peabody Essex Museum. © 2016 Peabody Essex Museum. Photo by Peter Vanderwarker.

From our friends at Big Red & Shiny, today we bring you a review of Alchemy of the Soul: Maria Magdalena Campos-Pons. Author Leah Triplett Harrington offers a thoughtful, revelatory perspective on Campos-Pons’s work, exploring its relationship to themes of memory, exile, and labor. Triplett Harrington states, “Sugar is produced from backbreaking labor, and its ubiquitous popularity cultivated a taste for brutal control and economic dominance among the merchants[…..]

Made in Taiwan: A Retrospective of Yang Mao-Lin at the Taipei Fine Arts Museum

Yang Mao-lin. Zealandia Memorandum L9301 (1993); oil, acrylic on canvas; 112 x 194 cm. Courtesy of Taipei Fine Arts Museum.

A robust Asian democracy, Taiwan elected its first female president earlier this year. Yet thirty years ago, when the island was tentatively emerging from four decades of military rule, this future was far from certain. Made in Taiwan: A Retrospective of Yang Mao-Lin, now on view at Taipei Fine Arts Museum, spans three decades of the artist’s work. His vivid early paintings captured the growing[…..]

Who Among Us… The Art of Kenyatta A.C. Hinkle at the Museum of the African Diaspora

Kenyatta A.C. Hinkle. The Sower, 2015; India ink, acrylic paint, and polyfilm on wood panel; 11 x 14 in. Courtesy of Jenkins Johnson Gallery and the Artist.

Today from our partners at Art Practical, we bring you Matthew Harrison Tedford’s review of Who Among Us… The Art of Kenyatta A.C. Hinkle at the Museum of the African Diaspora in San Francisco. The author notes, “[…] I came to see the entire exhibition as Kentifrica—not just an imaginary place, but a dream, a revision, or a projection of a continent that could have been or[…..]

Cut-Up at Franklin Street Works

Phyllis Baldino. The Unknown Series, 1994–96 (detail); mixed media. Courtesy of the Artist.

“Everything in the world began with a yes. One molecule said yes to another molecule and life was born,” professes Clarice Lispector in the first lines of her 1977 novel, The Hour of the Star. Like the universe, art also begins with a yes. Some yeses are small: get out of bed today, put this image next to that one. Other yeses are bigger: continue[…..]