The Kitchen Garden at Home/Store is the inventory of a shopkeeper gone mad, driven to insanity by the senselessness of consumption.

Help Desk is an arts-advice column that demystifies practices for artists, writers, curators, collectors, patrons, and the general public. Submit your questions and issues anonymously here. All submissions become the property of Daily Serving. I’m a new MFA grad and I’m trying to break into the gallery system. Recently I had a great studio visit with a well-known curator. We talked for a long while about[…..]

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, Danica Willard Sachs reviews Gwenaël Rattke’s Not Fun And Not Free at Romer Young Gallery in San Francisco. Gwenaël Rattke’s exhibition Not[…..]

Today from our partners at Art Practical, we bring you Jackie Im‘s review of 100° City, a three-person show at City Limits Gallery in Oakland that “…seeks to challenge, to draw people into these messy conversations about anxiety, about the effects we have on the Earth.” Today is your last chance to see the exhibition, which features works by Jason Benson, Joel Dean, and Erin Jane[…..]

With its high-profile galleries and smattering of celebrity artists, curators, and collectors, it would seem that not much differentiates Paris Photo LA from the multitude of art fairs competing for attention in California. Where the fair does stand out, however, is in the way it makes the case for photography as a vibrant medium for contemporary expression. The 1970s saw the rise of an active[…..]

With the recent boom in museum building and expansion, there has been a recurring discussion of what makes a good space for art—as though an objective answer could be determined through a calculation of square footage, flexibility of design, and the ratio of natural to electric light. Indeed, the Museum of Modern Art in New York opted to demolish and rebuild its recently acquired neighboring building,[…..]

Taravat Talepasand’s work takes on the representational codes and image systems of the Iranian state: national currency, political propaganda, religious iconography, and gendered forms of identity making. The paintings in Not an Arab Spring open up the ideological assumptions that index Iranian identity, state power, and gender in order to consider how the body (male and female) comes to signify the state as well as[…..]