L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley “There are no easy happy endings anymore,” said writer David Levithan when interviewed about The Lover’s Dictionary, a novel told entirely through “definitions” of words like “aberrant” and “quixotic.” But there are no easy sad endings anymore, either–even though the romance the book dissects is doomed from the start, Levithan indulges in[…..]
Roaming the streets of a metropolitan area, it is easy to become overwhelmed by the scale of urban architecture and the number of individuals that occupy the space. So often, the individual gets lost in the equation; attention is turned to the sum over the parts. For the past three years, San Francisco-based photographer Katy Grannan has walked the streets of Los Angeles and San[…..]
Today’s article is from our friends at Art Practical, where Mathew Harrison Tedford discusses the History of Moving Images via a collection of Vuk Ćosić’s 1998 détourned film clips, on display on the UC Berkeley Art Museum and Pacific Film Archive (BAM/PFA) NetArt online gallery. The flickering green blowjob is both radical and passé. The alphanumeric pixels depict an ambiguously famous sex scene. It is[…..]
Upon entering Philippe Parreno’s exhibition at the Serpentine Gallery, for thirty minutes, you the viewer, are forced to relinquish control. Every movement you make has been carefully orchestrated by the artist – where you walk, what you see, the time spent in each room, what is visible of the world around… Four rooms, four videos. But no real choice. The videos do not run simultaneously,[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Bing Crosby died a month before Merrie Olde Christmas aired on national television. The holiday special included one of the most unexpected and fortuitous duets of the crooner’s career: a pairing with David Bowie, then fresh off of Station to Station. Bowie and Bing, over forty years apart in age, performed a[…..]
Concerned with the role of the individual in society, Artur Żmijewski produces works which expose social conflicts. His manifesto, Applied Social Arts, anchors his practice in two ways – art as a valid means of knowledge production, and the use of art to address the political and the social. In comparison to the social sciences, art is seldom drawn upon as a form of knowledge.[…..]
There is nothing that the art world loves more than four days of non-stop money spending and networking. The Miami art fairs are quick to come and go, but this week DailyServing will track some of the highs and lows of this year’s spectacle. DailyServing writers John Pyper, Benjamin Bellas and Rebekah Drysdale weigh in on the more noteworthy works exhibited this year. We continue[…..]
