February, 2014

Fan Mail: Rachel Brumer

Rachel Brumer. Memory’s Main Gate XI, 2008; van dyke on hand dyed pima cotton, acrylic, wax; 22.5” x 29” inches. Image courtesy of Mark Frey.

Transitioning from one distinct medium to another is often a challenge—one that many artists attempt. However, not all accomplish it with the seeming ease of Rachel Brumer. Working in varying combinations of textile, installation, sculpture, photography, and collage, Brumer diligently investigates a number of subjects. Foremost in her work is an almost pathological focus on remembering and honoring people, places, and moments through what she[…..]

David Lynch: Small Stories at the Maison Européenne de la Photographie

David Lynch. Head #15, 2013; Silver gelatin print on archival paper, 80 x 90 cm, Courtesy Galerie Item, Paris

David Lynch’s avant-garde aesthetic is true to his practice—be it film, painting, photography, design, or music. His recent exhibition Small Stories at the Maison Européenne de la Photographie, Paris, comprises photographs that indulge an instinctual exploration into our subconscious, free from worldly conditioning and typical of Lynch’s preoccupation with the human psyche. Lynch presents unassuming scenes that are strangely abstracted, compelling the viewer to delve into the[…..]

Andrew Moore: Dirt Meridian at Yancey Richardson Gallery

The 100th meridian west is a longitudinal line that snakes through North and South Dakota, Nebraska, Kansas, and Oklahoma, and forms the eastern border of the Texas panhandle. Historically, it divides the weathered, parched land in the western Great Plains from its lush, eastern neighbor. Through digital aerial photographs and large-format negatives taken on land, artist Andrew Moore captures this sparsely populated area, not scarred[…..]

Sylvia Fein: Surreal Nature at Krowswork

Sylvia Fein. Crucial Eye, 2011; egg tempera on board, 20 x 24 inches. Courtesy the artist and Krowswork Gallery, Oakland.

Today from our partners at Art Practical we bring you Mary Anne Kluth‘s review of Sylvia Fein: Surreal Nature at Krowswork Gallery in Oakland, California. Kluth notes, “A true pleasure of the exhibition, and a mark of its success as a retrospective, is the opportunity to trace developing threads, such as a particular symbol, subject matter, or technique, through various works over long periods of time…the[…..]

#Hashtags: The Importer/Exporter

Jeffrey Augustine Songco. Blissed Out, 2013. HD looping video. © Jeffrey Augustine Songco. Courtesy of the artist and Steven Wolf Fine Arts, San Francisco.

#commerce #spirituality #appropriation #commodification #orientalism The third and final installment of the Asian Art Museum’s Proximities series of contemporary art exhibitions addresses Asia’s central role in networks of trade, manufacturing, and information. On the whole, this series’ focus on looking at Asia through an American lens has revealed significantly more about America and the Bay Area than about Asia. As with the first and second[…..]

From the Archives – The Big Picture: An Interview with Edward Burtynsky

burtynsky-daily-serving_02

This past Wednesday, a thirty-day period for comments to the U.S. Department of State on the proposed Keystone XL pipeline began. Keystone XL would run from the Canadian border to a pipeline in Steele City, Nebraska, and is opposed by many environmental groups, from the Indigenous Environmental Network and the League of Conservation Voters to Physicians for Social Responsibility. In a 2012 interview for Daily Serving, artist Edward Burtynsky noted, “I do believe that[…..]

Screening Readership

Tee Pee Video Space Troupe. A video totem showing self-portrait of the photographer, 1973; black and white. Photo Credit: Peter Angelo Simon.

From our partners at Art Practical, today we bring you Erica C. Gomez‘s essay on the “readership” and active interpretation of film. She notes, “Reading film is an action that extends outward, producing new lines of movement through publics and counterpublics.” This article was originally published on December 4, 2013. Ever since the Lumière brothers’ 1895 public film screening, rapid changes have marked the film exhibition[…..]