The first time I saw New Year’s Day Swimmers, the current exhibition at Altman Siegel Gallery in San Francisco, I didn’t mean to. I intended to pop into the gallery to drop something off, but as soon as I crossed the threshold I was completely captivated by the works and forgot everything else I was supposed to accomplish by my visit. Floating through the gallery,[…..]
One of the more thought-provoking pieces of art writing this month was not about contemporary work, but modern art. Tucked away in his review of “Radical Terrain” at the Rubin Museum, New York Times critic Holland Cotter called out the Euro-American belief that the West invented modernism, which was then either copied or imposed (inferiorly) across the globe. We might have missed Cotter’s article, if[…..]
Belgian artist Luc Tuymans is perhaps best known for challenging the post Abstract Expressionism debate about the relevancy of painting by taking on subjects as Belgian colonialism, the Holocaust and the War on Terror. In his tenth exhibition at David Zwirner in New York, The Summer is Over, Tuymans scrutinizes the relevance of capturing reality in painting. Alluding to ghosts of the present and future, the[…..]
For this edition of Fan Mail, Giordanne Salley of Boston, MA has been selected from our worthy reader submissions. Two artists are featured each month—the next one could be you! If you would like to be considered, please submit your website link to info@dailyserving.com with ‘Fan Mail’ in the subject line. ———– Years ago, my friend Jessie was talking to me on camera while I[…..]
Today’s feature is brought to you from our friends, the online interview magazine, The Avant/Garde Diaries. The following is a video interview with master art forger, Father Philanthropist, Mark Landis. Standing next to 57-year-old Mississippi native Mark Landis in the watercolors aisle of a local art store, the words “master art forger” are the least likely to come to mind. Bald, stooped, and slight of voice, Landis[…..]
If you back your way into the Jay DeFeo exhibition at San Francisco Museum of Modern Art, you’ll discover, as I did, a group of five oil paintings in the final gallery. The works are small by today’s standards of monumentality and smaller still by the standards of DeFeo’s most famous work, The Rose. The Rose, occupying its own alcove earlier in the show, is[…..]
There have been many times when I have felt uneasy looking at group shows of “Outsider Art”. There can be some crowds, and lots of things for sale, and a lot of people buying them, but mostly what can cause apprehension as a viewer is the wild range in the work. Often there is no thematic or formal thread that could tie all of these[…..]
