Bean Gilsdorf

From this Author

Help Desk: Studio Visit Faux Pas

Louise Bourgeois in her studio.

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. All submissions become the property of Daily Serving. This question follows your recent Help Desk article “Underrepresentation.” I appreciated that answer so much, since I know many artists who feel the same. I got stuck on this simple sentence,[…..]

If You Don’t Know Me By Now, You Will Never Never Never Know Me at Fundacja Arton

parente

In light of Monday’s women-led strike in Poland, in which thousands of people in over sixty cities gathered to protest the government’s proposal to completely ban abortion, If You Don’t Know Me By Now, You Will Never Never Never Know Me at Fundacja Arton seems exceptionally prescient. The exhibition brings together seven works of film or video made by women between the years of 1973[…..]

Help Desk: Studio Trouble

Tracey Emin in her studio, circa 1996.

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. All submissions become the property of Daily Serving. A few months ago I moved into my first professional studio, which I share with two other artists. They have been friends for a long time, but I don’t see much[…..]

From the Archives – Help Desk: Self-Promotion

Andy Warhol, People on the Street, ca. 1980. © Andy Warhol. Gift of The Andy Warhol Foundation for the Visual Arts, Inc. RISD Museum, Providence, RI.

This week’s Help Desk art-advice column looks back to a question from a “feral” artist and provides some strategies for self-promoting an exhibition. Got a question for our Help Desk? Submit your queries anonymously here.  I’m an artist in [redacted city] and I just got a solo show at a little gallery. I have no idea how to promote it. I didn’t go to art school and I’m[…..]

Letter from the Editor

Romare Bearden. The Block II, 1972;
collage of various papers with foil, paint, ink, graphite, and surface abrasion on seventeen fiberboard and plywood panels.
© Romare Bearden Foundation

Last week, Deadline reported that the New York Times discontinued regional coverage of the arts. Significantly, in her August 6 column, NYT Public Editor Liz Spayd asked, “Why should a newsroom that just announced lofty international ambitions spend resources covering news of no interest to readers in Beijing and London?” Below the surface of this question lies the implication that cultural events happening in smaller[…..]

Help Desk: Underrepresentation

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. All submissions become the property of Daily Serving. I’m an artist with a gallery and I’m stuck in their back room. I’ve been with them a long time. My stuff has a challenging, abstract, unique style, and they pay[…..]

Alina Szapocznikow: Human Landscape(s) at Galerie Loevenbruck

Alina Szapocznikow. Paysage humain (du cycle «Paysages humains») [Human Landscape] (from the
Cycle «Human Landscape»), 1971;
Felt-tip pen and watercolor on cardboard; 11 13/16 x 19 3/16 in. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie
Loevenbruck, Paris.
© ADAGP, Paris. Photo: Fabrice Gousset.

Owing to the success of her figurative work as well as her 2012 retrospective at the Museum of Modern Art in New York, the Polish artist Alina Szapocznikow is widely recognized for her uncanny mixed-media sculptures that incorporate cast body parts with everyday objects. Often overlooked, however, are her drawings of abstracted figures—erotic, restless, and vulnerable—though they are a central part of her practice. Human Landscape(s)[…..]