Today we honor the life and work of Leigh Markopoulos (1968–2017): art critic, curator, instructor, and friend and contributor to Daily Serving and our sister publication Art Practical. It is an understatement to say that Leigh was admired; she was loved in the way that only great mentors and friends are loved—fiercely, and without reservation. What follows are brief remembrances of a few of her former students[…..]
#art #community #development #displacement #gentrification #Los Angeles What is required for art and social justice to coexist within the development of a city? In February, the activist collective known as Boyle Heights Alliance Against Artwashing and Displacement (BHAAAD) made headlines for their picket of gallery 356 S. Mission Road, which occurred during a political organizing meeting called by a group of Los Angeles artists. And earlier[…..]
Today, from our friends at Guernica, we bring you a conversation between artist Kameelah Rasheed and author Imani Roach. They talk about the “stutters” and footnotes of history, archiving as art, visibility, and Rasheed’s project How to Suffer Politely (And Other Etiquette). This article was originally published on March 6, 2017. Perhaps, while strolling down the sidewalks of New York City, or scanning your Instagram feed, you’ve[…..]
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, Colony Little reviews Hammer Projects: Kevin Beasley at the Hammer Museum in Los Angeles. A large black curtain impedes the entrance of[…..]
There is something quite sordid about Brian Cooper’s sculptural installations. The tufted forms in sickly mustard yellows and dark browns seem to ooze over walls, drip down plinths, and pool on aging carpets. As heavy, spreading masses and playful renditions on the theme of corporeality, they are like tactile manifestations of the slow, creeping wave of nausea that comes when one has overstayed an afterparty.[…..]
Wendy Red Star produces photographs, textile-based works, and performances that situate her womanhood and Crow heritage as ontologically intertwined. Collaborating with fellow Indigenous artists, performers of other disciplines, and her daughter, Red Star documents her various achievements in the contemporary art world through strategies that have historical ties. Ashley Stull Meyers: You have roots in Montana and Colorado. What influenced you to settle in Portland, Oregon,[…..]
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. Long story short, I finished my MFA and moved back home to deal with some of my debt before I move to a bigger city with galleries and opportunities, etc. I[…..]
