Today from the DS Archives we bring you the 2011 exhibition, “Vision and Communism”at Smart Museum at the University of Chicago in Chicago, IL and the current exhibition “Without Reality, There is No Utopia” at Yerba Buena Center for the Arts. Both exhibitions address the effects Communism and politics have on culture and art. The following article was origianally published on November 8, 2011 by Randall Miller: On the night of[.....]

Against the backdrop of industrial chimneys, tidal waves and soaring satellites, satanists play their synthesizers while the world is falling apart. Inside a Corbusian building a middle aged man is hitting a woman with a whip. She’s on hands and knees, tightly leathered up. A third person is standing in the same room, watching them. Discarded pieces of human flesh are scattered around, some are[.....]

Today from the DS Archives we’re going way way back to the long lost time of 2008 to bring you three instances of Bruce Nauman. The two contemporary examples are his current exhibition at Hauser and Wirth in London, and his inclusion in the all-star group exhibition “Silence” at the Berkeley Art Museum (BAM). The following article was originally published on June 25, 2008 by Catherine Wagley:[.....]

The development of video and cinema in the last century changed both the art world and popular culture forever. In recent years, cult and niche movements have been working to subvert the easily digestible main stream genres and create something more engaging. Today from the DS Archives we highlight last year’s exhibition You Killed Me First!: The Cinema of Transgression at Kunst-Werke and the forthcoming exhibition, Positions[.....]

The first time I saw New Year’s Day Swimmers, the current exhibition at Altman Siegel Gallery in San Francisco, I didn’t mean to. I intended to pop into the gallery to drop something off, but as soon as I crossed the threshold I was completely captivated by the works and forgot everything else I was supposed to accomplish by my visit. Floating through the gallery,[.....]

In December of 1968, Seth Siegelaub and Jack Wendler published The XEROX BOOK, an exhibition produced entirely in book form. The project included seven contributing conceptual artists: Carl Andre, Robert Barry, Joseph Kosuth, Sol LeWitt, Douglas Huebler, Robert Morris and Lawrence Weiner. The Kadist Art Foundation in San Francisco recently spoke to Jack Wendler about The XEROX BOOK offering a unique glimpse into the history[.....]

One of the more thought-provoking pieces of art writing this month was not about contemporary work, but modern art. Tucked away in his review of “Radical Terrain” at the Rubin Museum, New York Times critic Holland Cotter called out the Euro-American belief that the West invented modernism, which was then either copied or imposed (inferiorly) across the globe. We might have missed Cotter’s article, if[.....]