Posts Tagged ‘Reviews’

Sze Tsung Leong: Horizons at Yossi Milo Gallery

Sze Tsung Leong. Lake Michigan, 2012; Chromogenic Color Print; 28” x 48”. Courtesy of Yossi Milo Gallery.

Mexican-born, British-American photographer Sze Tsung Leong photographs vast, spare landscapes from around the world in his ongoing series, Horizons, on view at Yossi Milo Gallery. The arrangement of photos hops from place to place while remaining visually cohesive due to the shots’ shared composition: The horizon line bisects the image at the same point in each photograph, producing the perception of a single line unrolling along the[.....]

Radical Presence: Black Performance in Contemporary Art at NYU’s Grey Art Gallery

Jean-Ulrick Désert. Negerhosen2000 / The Travel Albums, 2003. From a series of forty digitally printed images, pigmented inks, and pencil on archival paper with mixed media collage. 11 3/4 x 8 1/4 in. Courtesy the artist.

How is Blackness performed?  Most African American contemporary artists will admit in confidence that they are often expected to perform their Blackness for the power players of the art mainstream, regardless of their choice of artistic medium. Artists working in two dimensions such as Kerry James Marshall, Kara Walker, and Wangechi Mutu have gained currency by creating work that makes the construction of black identity[.....]

If the World Changed: Singapore Biennale 2013

Teamlab. Peace Can Be Realized Even Without Order, 2012; interactive digital installation; dimensions variable. Courtesy of the Artist and Singapore Art Museum.

Premised on the obliquely hypothetical question “What if the world changed?”, the Singapore Biennale 2013 (SB2013) is presented as a deconstructed entity centered on allusive keywords—or “tags” in internetspeak—such as “histories,” “intervention,” and “materiality” in order to highlight the transmutative and the transformative qualities of the art produced in the region. With a collaborative team of 27 curators instead of an artistic director helming the show,[.....]

Help Desk: Pressure to Review

Ken Price. Liquid Rock, 2004; Acrylic and ink on paper; 17 3⁄4 x 13 7/8 in. Courtesy Matthew Marks Gallery

HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling—or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. HELP DESK is cosponsored by KQED.org. I’m a new arts administrator, and I live in [a mid-size city]. Through my four years of art school here and my job, I[.....]

HELP DESK: Release the Press!

Images courtesy of Kunstverein, Amsterdam. Photo: Tabea Feuerstein.

HELP DESK is where I answer your queries about making, exhibiting, finding, marketing, buying, selling—or any other activity related to contemporary art. Submit your questions anonymously here: http://bit.ly/132VchD. All submissions become the property of Daily Serving. HELP DESK is co-sponsored by KQED.org. What’s the best way to write a press release so that my show gets reviewed? If you poke around on the internet, you’ll[.....]

HELP DESK: Helpful Words for Negative Reviews

Mark Tansey, The Innocent Eye Test

Welcome to another week of HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to–contemporary art. Together, we’ll sort through some of art’s thornier issues. Email helpdesk@dailyserving.com with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. HELP DESK is co-sponsored by KQED. I am a visual arts writer, and if[.....]

From the DS Archive: Doug Aitken, Migration

Installation view: Regen Projects, Los Angeles 2009 Photography by Brian Forrest Sometimes simplicity can be stunningly difficult. Doug Aitken‘s film Migration has an apparent enough premise: migrating animals occupy hotel rooms, bringing together the instinctive and unfamiliar aspects of travel. And Aitken uses pristine, focused images to realize this premise. Yet the effect is something more nuanced and confusing: migration becomes precariously noble, the virtual[.....]