Today from our archives we look back to exactly one year ago, to M. Rebekah Otto’s review of The Guantanamo Bay Museum of Art and History at the Worth Ryder Art Gallery in Berkeley, California. Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for[…..]

Today we look back to exactly where we were a year ago: contemplating the work of Turkish painter Taner Ceylan. Although author Alex Bigman likens many of the works to high-gloss fashion spreads, he notes: “A touch of vulgarity remains, and it’s hard to imagine these works having much political charge without it.” This article was originally published on October 16, 2013. Taner Ceylan’s Lost[…..]

Today from our archives we bring you a Help Desk column that never goes out of style. To submit your question anonymously, follow this link. All submissions become the property of Daily Serving.  Artists are routinely asked to donate work toward the benefit of an organization. I have reached the point where I am just not sure how my participation ranks along with my overall exhibition[…..]

Today from the archives, we bring you an early #Hashtags column on images, photography, and the movement from two dimensions to three. Though this post was originally published on January 24, 2012, the distinction between “real” and “unreal” continue to be germane to both contemporary art and everyday culture. “Cameras are the antidote and the disease, a means of appropriating reality and of making it[…..]

This week, the opening bustle of the fall art season has us thinking about exhibitions and art criticism, and since we often publish Shotgun Reviews on Sundays, it seems especially relevant to share a previous submission from our archives. Although all the Shotgun Reviews we have published are written with sensitivity and care, this one always stands out in our minds as exceptional—not just for the quality of[…..]

Today from our archives we bring you Kelly Nosari’s assessment of Whose Map Is It? at the Institute of International Visual Arts in London. Considering the wars currently being waged over land in Palestine, the Ukraine, Syria, and South Sudan (to name just a few), it is interesting to note how artists approach the representation of territory. This article was originally published on July 8,[…..]

Today from the DS archives, we bring you Allegra Kirkland’s review of Chronicling Catastrophe. Originally published on February 26, 2013, this article is a consideration of Enrique Metinides‘ fifty-year-long career in chronicling disasters that are, in Kirkland’s words, “anonymous crime [scenes] and hauntingly specific [tragedies].” Unfortunately, these images, and ones like them, are ever-relevant in our violent, modern world. The journalistic expression “If it bleeds, it leads” is particularly[…..]