It’s been said that over the course of four short years – from 1968 to 1972 – the Eugenia Butler Gallery set the bar for conceptual art in Southern California. Butler, whose own mother fled home to work as a Harvey Girl, left Bakersfield, CA, to serve in the United States Marines, eventually becoming a Master Sergeant. After the war, Butler married James Butler, a[…..]
As part of our ongoing partnership with Art Practical, Daily Serving is sharing Patricia Maloney’s article Making Events of Objects on [2nd floor projects] and THE THING Quarterly in San Francisco. A central tenet to emerge from Conceptual art in the 1960s was the perception of language as an object: a visual form of signification that requires us to negotiate its materiality in order to locate its meaning.[…..]
#Hashtags: Viral Thoughts on Politics, Arts, and Culture #Hashtags provides a platform for longer reconsiderations of artworks and art practices outside of the review format and in new contexts. Please send queries and/or ideas for future to hashtags@dailyserving.com. “Cameras are the antidote and the disease, a means of appropriating reality and of making it obsolete.” – Susan Sontag In her 1977 essay, “The Image-World,” Susan[…..]
When Edward Kienholz died of a heart attack aged 65 in 1996, his burial arrangement could have been one of his own installations: his embalmed body was stuck into the front seat of an old brown Packard coupe; he drove off into the good night with a dollar and a deck of cards in his pocket, accompanied by the ashes of his dog in the[…..]
When Lady Macbeth said “Out, damn’d spot!” she was referring to stains of blood, not brightly-colored enamel paint, but I’m sure there are more than a few art critics out there who echo her thought this month. The reason? What to make of “Damien Hirst: The Complete Spot Paintings 1986–2011”, now on view at eleven Gagosian galleries worldwide. The spots at Gagosian LA range from[…..]
Comprising only a large installation at the Schirn Kunsthalle, Gabríela Friðriksdóttir’s Crepusculum – Latin for “twilight” or “dusk” – is a mixed-media, polyphonic, physical exploration of metaphysical structures that govern the human psyche, and speculates that an enigmatic and irrational system of signs, meanings and forms counterbalances the deceptively ordered exteriors of our existence. Above all, it is an experiential and tactile show that prioritises[…..]
Grasping the nebulous zone of art and politics can be arduous at best. The curatorial project of Agitated Histories attempts to do just that by compartmentalizing the political narrative. The Re-enactment, The Archive, The Persona, and The Intervention give some scaffolding from which the viewer can approach the work. The artists in this exhibition engage with the political, the social, and the personal through formal[…..]
