Articles

Fan Mail: Lionel Cruet

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Lionel Cruet is preoccupied by the idea of place. Much of his work explores how one can attempt to access the places in which one is not physically present, and questions if these attempts can ever be successful. Of particular concern to Cruet is how race and geopolitical status factor into these attempts—how one’s described and prescribed identities render access to, and denial from, a[…..]

Dennis Jeffy: From Antelope Springs at MOCA Tucson

Dennis Jeffy. Dooli Sings, 2000; oil on canvas; 80 in. diameter. Courtesy of the Artist and MOCA Tucson. Photo: Maya Heilman-Hall

In an age when internet presence grants visibility, the sparsity of digital images and articles of Dennis Jeffy’s work makes his solo exhibition, From Antelope Springs, at MOCA Tucson a significant and rare occurrence to be experienced. Born in Antelope Springs (Navajo for Jeddito, Arizona) in 1952, Jeffy has developed a fertile artistic practice that has journeyed through a wide range of experimentation in style, material,[…..]

Louise Lawler: Why Pictures Now

Louise Lawler. Pollyanna (adjusted to fit), distorted for the times, 2007/2008/2012. Dimensions variable. Courtesy the artist and Metro Pictures, New York. © 2017 Louise Lawler.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Hoi Lun Helen Wong reviews Louise Lawler: Why Pictures Now at the Museum of Modern Art in New York. Part of the[…..]

Help Desk: The Penis Award

Nancy Spero. Picasso and Frederick's of Hollywood, 1990; handprinted collage on paper; two parts, each 17.25 x 109.625 in.

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 am a midcareer (female) artist married to an established (male) artist. Throughout our relationship I have endured innumerable comments and actions that validate my husband and cast me into the[…..]

Our Bodies Our Selves at the Women’s March, January 21, 2017

Screenshot, Kim Atom, Twitter Post, January 21, 2017, 5:48 p.m., https://twitter.com/tmhzjm/status/822938829430648832.

Today, from our sister publication Art Practical, we bring you Betti-Sue Hertz’s article from issue 8.3: Art can’t do anything if we don’t. Hertz explores the protest signs wielded at the Women’s March on Washington. She states, “At a moment when the right is emboldened to threaten hard-won civil rights, it is important to steadfastly embrace diverse gender expressions as represented in march signs and slogans such[…..]

Who Do You Trust? at the Asian Art Museum

David and Hi-Jin Hodge. Who Do You Trust?, 2017 (performance still);  April 20, 2017. Courtesy of the Asian Art Museum, San Francisco. Photo: Quincy Stamper.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Sofia Villena Araya reviews Who Do You Trust? at the Asian Art Museum in San Francisco. Dance is a powerful medium in[…..]

From the Archives – Interview with Shanti Grumbine

Shanti Grumbine. Persephone, April 2, 2013, A1, 2015; basswood dowels, anodized die, pigment print, mirrors, wood panel, 22 x 29 in.

In a world of propaganda and fake news, sorting fact from fiction can be a complicated task. Today we revisit Ashley Stull Meyers’ interview with artist Shanti Grumbine, who deconstructs newspapers as a way of investigating the power dynamics of communication. “The goal of journalism is to discover and present an objective truth—which is an impossible task.” This article was originally published on March 9, 2015. Art[…..]