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As a part of our ongoing partnership with Art Practical, today we bring you Helena Keeffe‘s essay on labor and transparency. If you’ve ever been an intern, volunteered, or otherwise worked for free, looked for ways to support yourself as an artist, or wondered where you might get the tools necessary to weigh the risks and benefits of low-paying opportunities, you should take the time[…..]

James Turrell: Twilight Epiphany Skyspace

James Turrell,

Shotgun Reviews are an open forum to which we invite the international art community to contribute timely, short format responses (250–400 words) to an exhibition or event. If you are interested in submitting a Shotgun Review, please follow this link for more information. In this Shotgun Review, Colin L. Fernandes, M.D, reviews James Turrell’s Twilight Epiphany Skyspace at Rice University.  I followed the stone path through the manicured lawns of Rice[…..]

Artists Who Confront Violence: An Introduction

Francisco Goya. The Disasters of War (Plate 39 – heroic feat! With dead men!), 1810-1820; etching.

As part of our ongoing partnership with KQED Arts, today we bring you an article on activism and the artistic lineage of political criticism, from Goya to Gezi Park. Author Christian L. Frock is also giving a lecture on the same topic at 2 p.m., Saturday, June 29, at the Intersection for the Arts in San Francisco. This article was originally published on  June 27, 2013.[…..]

Keith Haring: The Political Line at the Musée d’Art Moderne de la Ville de Paris and Centquatre

Keith Haring. Unfinished Painting, 1989; acrylic on canvas; 100 x 100 cm. Courtesy of Keith Haring Foundation.

Shotgun Reviews are an open forum to which we invite the international art community to contribute timely, short format responses (250–400 words) to an exhibition or event. If you are interested in submitting a Shotgun Review, please follow this link for more information. In this Shotgun Review, Kanika Anand reviews Keith Haring: The Political Line at the Musée d’Art Moderne de la Ville de Paris and Centquatre. Cohosted by Musée d’Art Moderne[…..]

Mexico as Muse

Robert Motherwell. Pancho Villa, Dead and Alive, 1943; cut-and-pasted printed and painted papers, wood veneer, gouache, oil, and ink on board; 28 1/4 x 35 7/8 in.

As part of our ongoing relationship with the Los Angeles-based Artillery, today we bring you an article about artists who have been inspired by the landscape and culture of Mexico. The author, Betty Ann Brown, says, “My journey through Mexico has been a journey from consumption to critical thinking.” Mexico as Muse was originally published on April 30, 2013. “Mexico is truly the promised land for abstract[…..]

Roger Shimomura: Minidoka on My Mind

Roger Shimomura. Classmates, 2007;

Today we welcome a new feature to Daily Serving: Shotgun Reviews! Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short format responses (250-400 words) to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. Roger Shimomura: Minidoka on My Mind at Sonoma Valley Museum of Art, by Satri[…..]

The Foster Prize: Mark Cooper

Mark Cooper. yu yu tangerine, 2013; wood, aluminum brackets, screws, ceramics, fiberglass, silkscreen on muslin, acrylic, watercolor, marker, rice paper monoprints, digital photographs; dimensions variable. Courtesy the artist. Photo: John Kennard.

As part of our ongoing relationship with the Boston-based Big Red & Shiny, today we bring you a review of Mark Cooper’s work at the Institute of Contemporary Art/Boston. Cooper was one of four artists of “exceptional promise” shortlisted for the Foster Prize (along with Sarah Bapst, Katarina Burin, and Luther Price), and all four of the nominees had their ICA exhibitions reviewed on Big Red & Shiny’s blog[…..]