Today, from our friends at Art Practical we bring you Carlos Jackson’s article in issue 8.3: Art can’t do anything if we don’t. Jackson hails artist Gilda Posada’s large-scale billboard installation, ABOLISH BORDERS, located on the wall of Galería de la Raza, as an embodiment of the Chicanx claim, “sin fronteras.” Jackson says of the billboard, “The billboard creates and imagines a generous form of community through its[…..]
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, Lux Yuting Bai reviews Raymond Pettibon: A Pen of All Work at New Museum in New York. Presenting approximately 800 drawings from[…..]
Today, we bring you a Help Desk column from our archives about doing more harm than good. Bean Gilsdorf’s critique still rings true: “If your activism turns you into a celebrity but does nothing to change the brutality you supposedly decry, your innocent intentions become worse than worldly cynicism.” Submit your arts-related questions anonymously here. This article was originally published on April 30, 2012. If an artist[…..]
![Installation view of Henry Taylor, The 4th, 2012-2017 and THE TIMES THAY AINT A
CHANGING, FAST ENOUGH!, 2017, with Deana Lawson, Ring Bearer, 2016. [Taylor]
Collection of the artist; courtesy Blum & Poe, Los Angeles/New York/Tokyo. [Lawson]
Collection of the artist; courtesy Rhona Hoffman Gallery, Chicago, and Sikkema Jenkins &
Co., New York. Whitney Biennial 2017, Whitney Museum of American Art, New York, March
17-June 11, 2017. Photo by Matthew Carasella.](http://www.dailyserving.com/wp-content/uploads/2017/04/11_HenryTaylor_DeanaLawson_Install_2017Biennial-sm.jpg)
#representation #WhitneyMuseum #EmmettTill #DanaSchutz #MartinBerger #race #civilrights So much hinges on the question of audience. Who is presumed to engage with artwork, and on what terms? In the museum, people of color so often feel that we are not the intended audience. The hurt that we experience on realizing that disconnect—that we are here for art but art is not necessarily here for us—has now been[…..]
For the Chilean-born visual artist, poet, and filmmaker Cecilia Vicuña, the textual and the visual exist and function together in a familial relation, as if the making of objects and the shaping of words into images are knotted together like threads, binding and weaving themselves to form reified constellations that speak of the individual and collective simultaneously.[1] Vicuña’s work has a rich engagement with the[…..]
Welcome to Odd Jobs, where I interview artists about their varied and untraditional career arcs. For this installment I spoke on the telephone with Amir H. Fallah, whose work examines the conceits of portraiture, making its tropes the objects of manipulation and obfuscation. Born in Tehran, Iran, in 1979, he received his BFA from the Maryland Institute College of Art and his MFA in painting[…..]
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[…..]
