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	<title>DAILY SERVING &#187; courage</title>
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		<title>Happy New Year!</title>
		<link>https://www.dailyserving.com/2016/12/happy-new-year-3/</link>
		<comments>https://www.dailyserving.com/2016/12/happy-new-year-3/#comments</comments>
		<pubDate>Sat, 31 Dec 2016 08:00:03 +0000</pubDate>
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				<category><![CDATA[Articles]]></category>
		<category><![CDATA[courage]]></category>
		<category><![CDATA[Happy New Year! Tenth Anniversary]]></category>
		<category><![CDATA[love]]></category>
		<category><![CDATA[Michele Carlson]]></category>
		<category><![CDATA[Odd Jobs]]></category>
		<category><![CDATA[tenacity]]></category>

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		<description><![CDATA[2016 was an exceptional year for Daily Serving! We celebrated our tenth anniversary and Michele Carlson became our new executive director. We inaugurated “Odd Jobs,” a new interviews column regarding art and labor, and covered major art-world stories like Pedro Reyes’ Doomocracy and Revolution in the Making: Abstract Sculpture by Women, 1947–2016, at Hauser Wirth &#38; Schimmel. Of course, we also turned an assessing eye to exhibitions in cities such as Birmingham, Dhaka, Nashville, Mexico City,[.....]]]></description>
				<content:encoded><![CDATA[<div id="attachment_53728" style="width: 610px" class="wp-caption aligncenter"><a href="/wp-content/uploads/2016/11/Fist_OMCA_BPP.jpg"><img class="size-full wp-image-53728" src="/wp-content/uploads/2016/11/Fist_OMCA_BPP.jpg" alt="Anonymous. Untitled (Clenched Fist), circa 1965; wood; 3 x 5.5 inches. Collection of the Oakland Museum of California, Museum Purchase." width="600" height="601" /></a><p class="wp-caption-text">Anonymous. <i>Untitled (Clenched Fist)</i>, circa 1965; wood; 3 x 5.5 inches. Collection of the Oakland Museum of California, Museum Purchase.</p></div>
<p><em>2016 was an exceptional year for </em>Daily Serving<em>! We celebrated our <strong>tenth anniversary</strong> and <a href="https://tmblr.co/ZsOnOs2Ey6xei">Michele Carlson</a> became our new executive director. We inaugurated “<a href="/tag/odd-jobs/">Odd Jobs</a>,” a new interviews column regarding art and labor, and covered major art-world stories like <a href="/2016/11/hashtags-house-of-horrors/">Pedro Reyes’ </a></em><a href="/2016/11/hashtags-house-of-horrors/">Doomocracy</a> and <a href="/2016/03/revolution-in-the-making-abstract-sculpture-by-women-1947-2016-at-hauser-wirth-schimmel/">Revolution in the Making: Abstract Sculpture by Women, 1947–2016</a>, <em>at Hauser Wirth &amp; Schimmel. Of course, we also turned an assessing eye to exhibitions in cities such as <a href="/2016/11/luis-cruz-azaceta-war-and-other-disasters-at-abroms-engle-institute-for-the-visual-arts/">Birmingham</a>, <a href="/2016/03/five-emerging-artists-from-bangladesh/">Dhaka</a>, <a href="/2016/05/the-power-of-pictures-early-soviet-film-and-photography-at-the-frist-center-for-the-arts/">Nashville</a>, <a href="/2016/10/carla-rippey-resguardo-y-resistencia-at-museo-de-arte-carrillo-gil/">Mexico City</a>, <a href="/2016/10/jeff-robinson-dummy-vexillography-at-stndrd/">St. Louis</a>, <a href="/2016/11/slaying-monsters-the-2016-kuandu-biennale-taipei/">Taipei</a>, and <a href="/2016/10/if-you-dont-know-me-by-now-you-will-never-never-never-know-me-at-fundacja-arton/">Warsaw</a>. <a href="/sponsor-us/">Your support made it happen</a>!</em></p>
<p><em>We’re looking forward to another year of the best in arts criticism from around the world, and we hope that your 2017 will be filled with tenacity, courage, and love! </em></p>
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