Social Practice

Powerful Babies at the Spritmuseum

Allen Grubesic. I DIDN'T DO IT, 2015; one pair of shoes; size variable. Courtesy the Artist and Pi Artworks, Istanbul/London. NPC.

Keith Haring’s creative impact was influential, and he broadly changed the model of what it means to be an artist. Today that model is not just coopted, it’s a memetic standard. But the curious thing about a successful meme is that when its impression becomes ubiquitous, the origin is often forgotten. Curators Bill Arning and Rick Herron grapple with this dilemma and attempt to bridge[…..]

From the Archives – #Hashtags: Whose Museum Is It Anyway?

Installation view of Mike Kelley at MoMA PS1, 2013. Photo: Matthew Septimus.

Here at Daily Serving, we keep an eye on the ways an exhibition’s impact changes depending on geographical location. With a recent editorial on what 30 Americans means in Detroit and December’s protest of omitting artists of color in Art AIDS America at the Tacoma Art Museum in mind, today we bring you Anuradha Vikram’s observations on shifting context, intended audiences, and racialized access to and[…..]

Interview with Tammy Mercure


Author Taylor Murrow talks with Mercure about her pop-up shop project, where the prices reflect the local gender wage gap.

Reformation: Public Art and the Philadelphia School Closures

Pepón Osorio. reForm, 2015; installation view, Temple University's Tyler School of Art. Photo: Constance Mensh.

Today from our friends at Pelican Bomb, we bring you Meredith Sellers’ article examining reForm, Pepón Osorio’s installation project at Temple University’s Tyler School of Art. Sellers discusses reForm critically in the larger political context of Philadelphia school closures. She states, “The reForm project […] aims to create much-needed public discussion around the fate of the Philadelphia school system and to be a potential catalyst for change. But a classroom,[…..]

Tomás Saraceno: Arachnid Orchestra. Jam Sessions at NTU Centre for Contemporary Art Singapore

Tomás Saraceno, Omega Centauri 1 Nephila Kenianensis 4 Cyrtophora citricola, 2014; Spidersilk, carbon fibre, light, Tripod. Courtesy of the artist and Esther Schipper Gallery, Berlin.

The gallery hums with screechy sounds resembling acoustic feedback, punctuated by random bursts of bass and cartoonish sound effects. The soundscape is queasily amorphous and disorienting, built on dissonance and the chaotic rhythms resonating from a handful of arachnids that have woven fine, thick webs around delicate wire frames. Featuring a plethora of spiderweb sound installations, Tomás Saraceno’s latest show Arachnid Orchestra. Jam Sessions is[…..]

Lorena Wolffer – Expuestas: Registros Públicos at the Museum of Modern Art in Mexico City

Antimemorias: enmiendas públicas, 2011; installation view, Lorena Wolffer Expuestas: registros públicos, 2015. Courtesy of Lorena Wolffer and Museo de Arte Moderno. Photo: Jorge Gomez del Campo.

Walking into Lorena Wolffer’s Registros Públicos at the Museum of Modern Art in Mexico City is a deeply unsettling experience. The space is tiny, just a few meters across, and the ceiling height is far closer to a bedroom than a gallery. Written in large red letters along the walls are a series of insults and threats from husbands and lovers to their partners–although using[…..]

Makeover at Southern Exposure

Members of Mutant Salon, 2015. Courtesy of the Artists.

From our partners at Art Practical, today we bring you a review of Makeover at Southern Exposure in San Francisco. Author Mary Anne Kluth notes: “At a time of massive change in the demographics and urban shape of the Mission District […] the works in Makeover collectively acknowledge that life can be messy, but encourage or demonstrate ideals of exchange and openness, and emphasize approaching problems with a sense[…..]