Today from our archives we bring you Elspeth Walker’s refreshingly blunt interview with painter Judith Bernstein. As we begin the new year and consider our plans for the next twelve months, it’s important to recall Bernstein’s philosophy: “[I]t’s important to be true to what you want to say and how you want to handle that. You have to keep moving forward. You can’t just stay where[…..]

Here at Daily Serving, we keep an eye on the ways an exhibition’s impact changes depending on geographical location. With a recent editorial on what 30 Americans means in Detroit and December’s protest of omitting artists of color in Art AIDS America at the Tacoma Art Museum in mind, today we bring you Anuradha Vikram’s observations on shifting context, intended audiences, and racialized access to and[…..]

From our friends at REORIENT, today we bring you “Vicious Circles.” In this piece, author Samannaz Kourang Pishdadi talks with Moroccan artist Mounir Fatmi about growing up in Tangier, the inspiration of the Beat movement, and his interdisciplinary career. Fatmi says of his work, “At the beginning, I think I was very naïve thinking my work could change things. Eventually, I realised that the most important [thing][…..]

Holiday in Hope is the name of the fictional fishing village created by Brooklyn-based, Canadian-born artist Karen Ostrom. Conceived in 2001 in the form of photographic tableaus, the village primarily exists through the depiction of various characters that inhabit it. Holiday in Hope is manifested in threads and series; it’s an implied space that harbors references to communities transformed by industrialization, the erosion of traditional[…..]

Art Brut in America: The Incursion of Jean Dubuffet, currently on view at the American Folk Art Museum in New York, focuses on two events seminal to the introduction of art brut to an American audience. The first was a 1951 speech given by the French artist Jean Dubuffet to the Arts Club of Chicago entitled “Anticultural Positions.” Displayed in full at the museum, the[…..]

Nearing the fourth anniversary of Mike Kelley’s death, REDCAT presented a theatrical screening of six of his video works, curated by Steve Anker and Bérénice Reynaud as part of the Jack H. Skirball Series. The selection of works in Mike Kelley: Single Channel Videos included a one-act melodrama based on a black-and-white yearbook photograph, a hammy and melancholic Superman reciting Sylvia Plath, an invocation of power through[…..]

Contemporary art in Mexico operates within a very specific social and economic climate. Since 2006, Mexico has experienced ever-escalating levels of criminal and state violence. Suspicion of collusion between organized crime and the government is common. The case of the presumed torture and murder of the forty-three normalistas directly shows the extent of cooperation between criminal groups and local, regional, and federal authorities. Police officers,[…..]