Don’t you wish sometimes that you could just leave all your worldly possessions behind and live as one with nature? Yes? No? Maybe? Well, if you do, you will probably be interested in the upcoming exhibition at Kunstverein & Stiftung Springhornhof, The Simple Life, which “presents works that from various perspectives address the yearning for modes of lifestyles considering sustainability and naturalness as well as their[…..]
Imagine if we never had to define ourselves. Imagine if we could exist suspended in a sort of identity probability cloud in which we were only more or less likely to be one thing than another. Or better yet if we could be in two conflicting states at once. We may never know the luxury of being both particle and wave, but we can certainly[…..]
Wall labels. Curatorial text. Provenance. Titles (or un-titles, as the case may be). At what point do the words surrounding an artwork serve the work, and at what point do they disrupt it? In terms of the museum, specifically, when do explanatory labels benefit museum-goers, and when do they detract from an individual’s experience? This week, #Hashtags features Part II of The Museum On My[…..]
Across a two-year period beginning from 1998, Roni Horn took photographs of her niece Georgia, that are on show in an installation at the Gallery of Modern Art (GoMA) in Glasgow. A set of prints are placed on one side of a wall, seeming to trace a path of growth as Georgia adopts a different hairstyle, posture, and way of expressing herself to the camera.[…..]
Eric Yahnker’s current solo show VIRGIN BIRTH N’ TURF, at The Hole through October 6, is a meticulous chronicle of canonical American cultural mediocrity. Walking into the vaulted white squareness of The Hole, I’m slammed from all sides by Yahnker’s enormous images — meticulously hand-drawn, magnified portraits of kitsch. Yahnker takes aesthetically unexalted elements of popular media, elevating the mediocre cultural staple and outfitting it[…..]
A lively, critic-to-critic dialogue published recently in The New York Times[i] left me pondering over the persistently blinkered nature of so much “digital age” discourse on film. Moving imagery has long been implicated and explored in and across myriad cultural and creative contexts, yet the breadth, depth, and diversity of filmic practice has been, and continues to be, belied by a narrow focus on commercial[…..]
Help Desk is an arts-advice column that demystifies practices for artists, writers, curators, collectors, patrons, and the general public. Submit your questions anonymously here. All submissions become the property of Daily Serving. Help Desk is cosponsored by KQED.org. I am a recent graduate from a somewhat less than prestigious MFA program. I chose the program because, A. they gave me a good scholarship, and B., because[…..]
