Set in profile, a man casts a doleful eye on a smaller figure that perches on his forehead and pulls insistently at his tongue, while a miniature chainsaw balances threateningly on his head. The palm of his hand is pierced with a plant-like dagger, and little bodies tumble out feet-first from the bottom of his torso, already bearing knives and swords in preparation for a skirmish.[…..]
Help Desk is an arts-advice column that demystifies practices for artists, writers, curators, collectors, patrons, and the general public. Submit your questions anonymously here. All submissions become the property of Daily Serving. I espouse fair labor initiatives like W.A.G.E. to pay artists.[1] However, my own projects are often un- or under-funded; if a stipend covers a significant portion of my expenses, that seems like a success, even[…..]
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. For the next four Sundays, our Shotgun Reviews will come from the finalists for the Daily Serving/Kadist Art Foundation Writing Fellowship in Mexico City. In today’s edition, author Marisol[…..]
Today from our partners at Art Practical, we bring you a review of Doug Hall’s The Terrible Uncertainty of the Thing Described, currently on view at the Walter and McBean Galleries of the San Francisco Art Institute. Author Maria Porges notes: “Perhaps the most fascinating thing about Hall’s seminal work is its quality of timelessness.” This article was originally published on May 21, 2015. In 1989, the San Francisco[…..]
Painting is to art as royalty is to democracy; it defensively justifies its own significance while continuing to hold court. There are many reasons why painting continues in this coveted pretense, but perhaps it can be mainly attributed to the limitations of its purpose. Any painter knows that the enchantment of painting lies in its classification. No matter how far the medium is pushed, as[…..]
The constant stream of digital information traveling around us over wires and airways is an increasingly recognized phenomenon. Over the past two decades, many artists have begun exploring the seemingly limitless possibilities of digital communication. However, long before the integration of once-mysterious electronic media into the art world in the 1990s, William Larson used a Graphic Sciences DEX 1 Teleprinter to produce some of the[…..]
From our partners at Art Practical, today we bring you Brian Karl’s review of Richard Misrach: Being(s) 1975–2015 at Fraenkel Gallery in San Francisco. Karl notes: “Misrach’s technical and compositional treatments produce a distancing effect that imbues the human figures with a kind of impotence.” This article was originally published on May 19, 2015. This Fraenkel Gallery survey of more than thirty years of Richard Misrach’s photography primarily[…..]
