#Hashtags provides a platform for longer reconsiderations of artworks and art practices outside of the review format and in new contexts. Today #Hashtags kicks off a new series on the institution of the museum, by writer Rob Marks. Stay tuned for Part II, and please send queries and/or ideas for future columns to hashtags@dailyserving.com. Part I: If the Walls Would Not Speak The museum is[…..]
We are thrilled to bring you a review of MadeIn Company’s recent exhibition in Shanghai from our brand new partner ArtSpy, a website based in Beijing, P.R.China that is committed to establish a global artistic information platform. This article was originally written for ArtSpy and has been translated exclusively for DailyServing. At the Shanghai Taopu Art District in May 2012, MadeIn Company presented a series[…..]
Dapple, by Edwin Morgan (1920 – 2010), the late Scottish poet who became involved in the concrete poetry movement of the 1960s, is one of five poems titled Colour Poems that play with the relationship between meaning, rhythm, colour and sound. The Colour Poems were the inspiration for the development of The Medium is the Message: words in printmaking since the 1960s, an exhibition exploring[…..]
The revamped Museum of Contemporary Art Australia opened its doors with Marking Time, an exhibition exploring time, duration and mortality. Jim Campbell’s ‘Last Day in the Beginning of March 2003’, a reimagining of the last 24 hours in his brother’s life, is a transfixing experience. One enters the dark space into the sound of rain. Pools of flickering light illuminate wall texts identifying single moments such as[…..]
Anyone who’s ever temped in an office or published a zine knows the marvelous idiosyncrasies of the Xerox machine: the sliding, illuminated beam that scans the images; the warm stacks of copies identical enough to be called “exact” yet often full of bleeding letters; shiny black-hole shadows and flecks of who-knows-what from the machine itself. In Run Off, now on view at MacArthur B Arthur[…..]
For the moment, the beating heart of Los Angeles’s Pacific Standard Time is Betye Saar’s installation Red Time, 2011, at Roberts and Tilton. Saar has transformed the middle room of the gallery into a shrine for past, present, and future, painting Roberts and Tilton’s interior room a bright red and allowing a variety of her customary assemblage works to act as friends and neighbors to[…..]
I am as free as nature first made man, Ere the base laws of servitude began, When wild in woods the noble savage ran. – John Dryden, The Conquest of Granada, 1672 At this point, everyone knows that street artists leave completely unexpected artworks that don’t last long but that are often more absorbing than the works we usually get to see in museums. Because[…..]
