Posts Tagged ‘race’

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[…..]

Pope.L: Desert at Steve Turner and Pope.L: Forest at Susanne Vielmetter Los Angeles Projects

Pope.L. Forest, installation view, Susanne Vielmetter Los Angeles Projects, 2015. Courtesy of the artist. © Pope.L

Pope.L returns to Los Angeles, after his MOCA exhibition William Pope.L: Trinket this past summer, with a two-part, two-gallery, map-sprawling, time-spanning show—Desert at Steve Turner in Hollywood and Forest at Susanne Vielmetter Los Angeles Projects in Culver City—connected by a downloadable GPS driving tour. Samuel Beckett, whose influence appeared in Trinket, returns again in the GPS guide’s insistently jolted repetitive language, “this thing this thing this thing[…..]

Radical Presence: Black Performance in Contemporary Art at YBCA

Senga Nengudi. R.S.V.P., 1975–78; nylon, sand, and mixed media; dimensions variable. Courtesy of the Artist and Thomas Erben Gallery, New York.

From our partners at Art Practical, today we bring you a review of Radical Presence: Black Performance in Contemporary Art at Yerba Buena Center for the Arts in San Francisco. Author Brian Karl notes: “The urgent need to collect and re-present this work—not in a static archive but in a living arena—stems from the continuing conditions of marginalization, oppression, and worse that black people have suffered over[…..]

#Hashtags: Conceptualizing Difference

Charles Gaines: Gridwork 1974-1989. 
Installation view at the Hammer Museum, Los Angeles. February 8-May 24, 2015. Photography by Brian Forrest.

#institutions #race #conceptualism #access #appropriation A recent performance at Brown University by conceptual poet Kenneth Goldsmith has resurrected what had seemed to be a long-ago-settled debate. Goldsmith, whose poetic practice is based on appropriation, presented an adaptation of the autopsy report of Ferguson, Missouri, police shooting victim Michael Brown as a poetic reading during the Interrupt 3 arts festival in mid-March. The subsequent commentary has largely taken Goldsmith to task for what many perceive to have[…..]

Endurance Tests: If I, Brontez Purnell

Brontez Purnell. Still from performance at KUNST-STOFF. Oct 10th, 2015. Photo by Robbie Sweeny.

Today, from our partners at Art Practical, we bring you an essay on the work of artist Brontez Purnell. Author Anna Martine Whitehead raises excellent questions about race, audience, and the nature of performance: “Will his art be taken on its own terms or viewed as a solution by program organizers and curators to the problem of how to present black creatives without investing in black life?” This[…..]

From the Archive – Help Desk: Race & Voice

Kerry James Marshall. Untitled, 2009; Acrylic on PVC, 61 1/8 x 72 7/8 x 3 7/8 in. Courtesy of the artist and Jack Shainman Gallery

In celebration of Dr. Martin Luther King, Jr. Day, today we bring you a Help Desk column that answers a question about race and voice. And as part of our ongoing commitment to sharing information and resources, we’d like to point readers to this page, which links to free PDF books on race, gender, sexuality, class, and culture. One of the best ways to honor Dr. King and the many people[…..]

Best of 2014 – #Hashtags: Sweet and Low

Kara Walker. A Subtlety, 2014. Site-specific installation at Domino Sugar Factory, Brooklyn, NY. Commissioned by Creative Time. Photo by Rajath Vikram.

Here at Daily Serving we count down the days to the New Year by presenting you with our best writing from the outgoing year. Our first selection, from our 2014 #Hashtags column, comes from Lia Wilson: “Anuradha Vikram’s investigation of Kara Walker’s The Marvelous Sugar Baby is an incredibly deft navigation of the entanglement of race, gender, class, labor, capitol, and representation operating within the work[…..]