Curator

Edward Krasiński: Two Retrospectives

Edward Krasiński’s studio, Warsaw. Courtesy of Paulina Krasinska and Foksal Gallery Foundation. Photo: Konrad Pustola.

László Beke’s essay in a 1999 exhibition catalog, Global Conceptualism: Points of Origin, 1950s–1980s, synthesizes broad Eastern and Central European conceptualist practices. Within the text, the Polish artist Edward Krasiński is mentioned only briefly in parenthesis as a “peculiar” artist.[1] This alone indicates Krasiński’s outlier status and exceptionality with regard to Eastern Bloc conceptualism. While Krasiński’s practice is clearly influenced by Minimalism’s phenomenological attention to[…..]

Third Space: Shifting Conversations About Contemporary Art at the Birmingham Museum of Art

José Bedia. Mpangui jimagua (Twin Brothers), 2000; acrylic and conté on canvas with objects; 122 x 355 x 188 inches. Courtesy of the Artist and the Birmingham Museum of Art.

As university presidents, corporate CEOs, and political leaders on the left and right toss the terms “multiculturalism” and “postcolonial” around in speeches and promotional materials, I am reminded that these buzzwords of the new transnational order have resisted domestication and dilution through the sharp, thoughtful, uncomplacent writing of Homi K. Bhabha.[1] Bhabha’s recognition that cultures must be understood as complex intersections of multiple places, historical[…..]

Objeto Móvil Recomendado a las Familias at Espacio de Arte de Fundación OSDE

Installation view with artworks by Orlando Pierri, Zdravko Dučmelić, Mildred Burton, and Tobías Dirty. Courtesy of Fundación OSDE. Photo: Tania Puente.

Is it still important to talk critically about Surrealism today? This avant-garde episode of international art history has been revisited over and over again, from tributes and revivals to critical works and retrospective exhibitions. From a purist, restricted view, Surrealism is reduced to a datable European movement that ended in the mid-20th century. For others, the term is a tradable currency, a flexible category used[…..]

“No Need for Silence”: Art as Collective Address

Hank Willis Thomas. Black Righteous Space, 2012; multimedia, 01:57; dimensions variable. Courtesy of Hank Willis Thomas and Jack Shainman Gallery, New York.

From our sister publication Art Practical, today we bring you Deena Chalabi’s article in issue 8.3: Art Can’t Do Anything If We Don’t. This issue explores the role of art in times of crisis, and how it both succeeds and fails as a call to action and political tool. Chalabi states, “Art offers alternatives to ideas and images prepackaged for us by politicians or corporations (rarely are we[…..]

In Memoriam: Leigh Markopoulos

Leigh Markopoulos. Image courtesy of Kevin Killian.

Today we honor the life and work of Leigh Markopoulos (1968–2017): art critic, curator, instructor, and friend and contributor to Daily Serving and our sister publication Art Practical. It is an understatement to say that Leigh was admired; she was loved in the way that only great mentors and friends are loved—fiercely, and without reservation. What follows are brief remembrances of a few of her former students[…..]

The Conjured Life: The Legacy of Surrealism at the Cantor Arts Center

Gertrude Abercrombie. The Courtship, 1949; oil on Masonite; 21 3/4 × 25 1/4 in. Courtesy of the Museum of Contemporary Art Chicago.

All publicity concerning The Conjured Life: The Legacy of Surrealism at Stanford University’s Cantor Art Center features The Courtship (1949) by Gertrude Abercrombie, one of six artists from the Chicago-Milwaukee-Madison parasurrealist group of the ’40s. I saw this painting once in LACMA’s all-women show of Surrealists, In Wonderland (2012), and looked forward to our reunion some five years and 361 miles hence. The inclusion of a[…..]

An Atlas of Mirrors: Singapore Biennale 2016

Titarubi. History Repeats Itself, 2016; Gold-plated nutmeg, copper-plated wood, nickel-plated wood, burnt wood, sampan, wood, aluminium, copper, soil, light and nutmeg perfume; Dimensions variable. Image courtesy of Singapore Art Museum.

There is no shortage of mirrors and maps in the fifth iteration of the Singapore Biennale. Glass mirrors in Harumi Yukutake’s Paracosmos (2016) curve around the main circular stairwell of the Singapore Art Museum, dazzling the eye as light hits their multiple reflective surfaces. Dozens of mirrors appear in their reflections; dozens more yet, to the power of infinity, show up in the reflections of their reflections. In[…..]