Today from the DS Archives we highlight the 2011 group show, For A Long Time at Roberts & Tilton. The show included an all-star line up of Marina Abramović, Vito Acconci, Hamish Fulton, Whitney Hubbs, Erica Love, Raymond Pettibon & Kehinde Wiley. The Song Itself is Already a Skip, Whitney Hubbs’ first solo photography show in LA is on view now at M+B Gallery. The[.....]

As a part of our ongoing partnership with KQED Arts, today we bring you a feature from writer Sarah Hotchkiss titled Picturing a Picture Collection: Taryn Simon at John Berggruen. For her first exhibition in San Francisco, photographer Taryn Simon delves into a unique archive to create a series of organized images about the organization of images. The Picture Collection contains photographs of the New York Public[.....]

When Lucio Fontana published his Spazialismo series in the 1940s, a fundamental reiteration of this theory was that matter should be transformed into energy to invade space in a dynamic form. In essence, only the conceptually abstract offered the freedom within linear space to explore ideas about movement and time in art. Fontana’s slash series went on to demonstrate this idea, where linear slashes and[.....]

As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Matt Stromberg titled From Los Angeles: The 2000 Sculpture. In his piece, Matt examines artist Walter De Maria’s work The 2000 Sculpture, which is on view at the Los Angles County Museum of Art (LACMA) through April 2nd, 2013. Artist Walter De Maria is perhaps best known for his seminal land[.....]

The concept of the “real” has undergone several interesting changes in the past century, and shows no sign of stopping. With new technologies, reality is now unimaginably more complex. Today from the DS Archives we take a look at More Real?: Art in the Age of Truthiness  and Ed Atkin’s upcoming exhibition at MoMA PS1, on view January 20—April 1, 2013. Atkins, “who considers HD technology deathlike[.....]

Imagine: you walk into a white room. One you can only enter wearing some of those sexy, plastic blue shoe protectors. An oversized flatscreen beams bright flickering light at the opposite wall. You sit down in front of the screen. The brightness is of an almost suffocating magnitude – there is so much light your eyes can’t cope. Instead of seeing light you start to[.....]

Have you ever tried explaining Social Practice to someone? It’s basically impossible. It seems I’m always confronted with the response: “wait…so how is that art?” As a relatively new discipline, the study and act of Social Practice is still developing its place in the art world. Still, despite its jeunesse, Social Practice has caused quite a stir and continues to do so in the form of courses,[.....]