Mowing the lawn is synonymous with suburban existence. It is a task so habitual and perfunctory that it seems unlikely as artistic subject matter. However, it is precisely this everyday quality of lawn maintenance that enables Jeremy Wood to imbue it with significance by newly exploring it with GPS (Global Positioning Systems) technology. For Mowing the Lawn, currently at Tenderpixel in London, Jeremy Wood continues[…..]
A myth is a foundational narrative that may be based in truth or fiction but either way it tells a story of who we are. Thus self-consciousness is constructed by a shared narrative and helps us to give shape and even name our identity. If we think of identity in the usual terms of religion or nationalism, some examples of these mythological narratives include the[…..]
Flip through any Mike Kelley catalog and you’re likely to find a plethora of images that show the artist to be a maker of videos, installations, and objects that betray what critic Jerry Saltz once described as “clusterfuck aesthetics“. So it may be a surprise to view the relatively straightforward Arenas at Skarstedt Gallery, comprised of seven out of the eleven works from the original[…..]
The press release for Jordan Kantor‘s self titled exhibition, currently on view at Ratio 3 in San Francisco, provides readers with little more than a physical account of what the exhibition includes: “several paintings on canvas, some in oil, others in enamel, two looping slide projections,” etc. This type of opacity in the actual content of the show seemed frustrating at first, but after a[…..]
Foreclosed is the kind of show that makes it seem advantageous for artists to also be craftsmen. In contrast to the parallel movements of “post-skill art” on one hand and “sloppy craft” on the other, Alison Elizabeth Taylor‘s marquetry pieces at James Cohan Gallery are constructed with incredible skill. And—when materials connect meaningfully with imagery—they are outstanding examples of art that satisfyingly integrates workmanship and[…..]
In the first installment of an ongoing series, we’re teaming up with our pals at Art Practical, a San Francisco Bay Area based website that is the nexus of four important chroniclers of art and visual culture: Bad At Sports, Happenstand, Shotgun Review, and Talking Cure quarterly. DailyServing will be partnering with Art Practical from time to time to bring you the latest in whats[…..]
Is it true belief’s unyielding determination that redeems and protects? This question lies at the heart of Brent Green‘s solo exhibition Gravity Was Everywhere Back Then at Andrew Edlin Gallery. The issue of belief occupies both Green and the man whose work provided the inspiration for the project. The story goes like this: a man named Leonard Wood once built a house entirely by hand[…..]
