Xavier Cha‘s Untitled (2012), on view at 47 Canal through January 13th, positions four high definition video screens displaying a series of “screen tests” throughout the small gallery. These close-up video portraits present subjects alternately gazing at and away from the viewer, inviting the audience to scrutinize both the faces and backs of these heads. Jonathan Coward scores the videos with an intensified background noise[.....]

I witnessed at least a handful of passerby pause in front of the glass-front façade of the Jones Center in downtown Austin, Texas. They shuffled through pockets and bags to find their iPhones, quizzically documenting the two unusual objects on view. How much contemporary art stops people dead in their tracks, not to scoff and mutter “well, I could do that,” but rather to ponder[.....]

This post was originally written for Art21.org and published on October 25, 2012. When photographer Laura London’s show opened at Coagula Curatorial in Chinatown last month, it was called Once Upon a Time…Axl Rose was my Neighbor. By the time it closed on October 20, its title had been cut down to just Once Upon a Time… and all direct reference to Axl Rose, famous[.....]

San Francisco/Paris- based Kadist Art Foundation is launching a new and exciting project featuring a series of video books. The Kadist foundation, in San Francisco, is currently hosting Ooga Booga, a Los Angeles mixed media “bookstore” as a pop-up project. Ooga Booga was founded in 2004 by Wendy Yao as a broadly defined bookstore. “Bookstore” does not adequately describe the space as it not only[.....]

For this edition of Fan Mail, Dennis Neuschaefer-Rube of Bielefeld, Germany has been selected from our worthy reader submissions. Two artists are featured each month—the next one could be you! If you would like to be considered, please submit your website link to info@dailyserving.com with ‘Fan Mail’ in the subject line. Dennis’s “stilled film” projects are exercises in visualizing the art of filmmaking—-charting changes in[.....]

Across a two-year period beginning from 1998, Roni Horn took photographs of her niece Georgia, that are on show in an installation at the Gallery of Modern Art (GoMA) in Glasgow. A set of prints are placed on one side of a wall, seeming to trace a path of growth as Georgia adopts a different hairstyle, posture, and way of expressing herself to the camera.[.....]

A lively, critic-to-critic dialogue published recently in The New York Times[i] left me pondering over the persistently blinkered nature of so much “digital age” discourse on film.  Moving imagery has long been implicated and explored in and across myriad cultural and creative contexts, yet the breadth, depth, and diversity of filmic practice has been, and continues to be, belied by a narrow focus on commercial[.....]