From our partners at Art Practical, today we bring you Lane Relyea‘s commissioned response to Stephanie Syjuco’s “Participation ≠ Compensation” workshop at the Valuing Labor in the Arts practicum at the Arts Research Center at UC Berkeley. Relyea notes, “[…] art venues will often claim to treat artists as professionals by rewarding their research with exposure more than cash. But who then pays the bills?” This article was originally[…..]
One of my favorite pieces in the National Gallery of Victoria is Édouard Manet’s 1880 work The Melon. At around 13 x 17 inches, it’s a modest study of a rather warty specimen, but I’m always tickled by the addition of an ornate gold frame far too large for the humble painting. It’s this incongruity that always draws me back to the gallery whenever I[…..]
The St. Petersburg Paradox, currently on view at Swiss Institute, is a group show of refreshing intellectual rigor. The exhibition’s curatorial design is so tightly wound that it forms a kind of singular entity in which each featured artwork compels the viewer to consider the philosophy of its larger scheme: namely, the metaphysics of gambling. The title refers to a paradox of human psychology: When[…..]
Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to contemporary art. Submit your questions anonymously here. All submissions become the property of Daily Serving. Should there be a limit on the number of times you apply for the same opportunity before you come to the realization that they just aren’t buying what you’re selling? The[…..]
“There is no difference between Time and any of the three dimensions of Space except that our consciousness moves along it.”—H.G. Wells, The Time Machine (1895) In 1992, Rirkrit Tiravanija converted the spaces of 303 Gallery in New York into a kitchen where he served rice and Thai curry to a crowd that became unwitting participants in a hybrid installation titled Untitled (Free). Seven years[…..]
Perhaps the most striking aspect of Isa Genzken: Retrospective—an expansive four-decade survey of the German artist’s work at MCA Chicago featuring sculpture, film, installation, painting, and photography—is the fact that it was all made by the same person. Over the course of her career, Genzken has successfully assimilated a wide array of styles without losing sight of a handful of core concerns: architectural structure, the[…..]
#museums #architecture #philanthropy #urban development #institutional critique #spectacle #metaphor In January, the Los Angeles 2020 Commission, a group of thirteen experts convened by the Los Angeles City Council to assess the city’s civic problems, delivered a damning report. Titled “A Time for Truth,” it begins with the statement “Los Angeles is barely treading water while the rest of the world is moving forward,” and gets[…..]
