Here at Daily Serving, we keep an eye on the ways an exhibition’s impact changes depending on geographical location. With a recent editorial on what 30 Americans means in Detroit and December’s protest of omitting artists of color in Art AIDS America at the Tacoma Art Museum in mind, today we bring you Anuradha Vikram’s observations on shifting context, intended audiences, and racialized access to and[…..]
#access #institutions #race #class #performance #intersectionality Two major New York exhibitions this winter have raised the question of access to contemporary art and museums in important and divergent ways. Radical Presence: Black Performance in Contemporary Art at the Studio Museum in Harlem continues reframing the historical narrative to include African Americans, as begun in Part 1 at NYU’s Grey Art Gallery. Mike Kelley’s sprawling retrospective[…..]
For our Best of 2013 series, Fan Mail columnist A. Will Brown selected Alex Bigman‘s review of Mike Kelley’s retrospective at PS1. Says Brown, “The untimely death of Mike Kelley is a potent reminder of how important every minute can be, particularly for those exploring and challenging the very mesh of society. This article, while particularly well written, hints at the importance of displaying Kelley’s oeuvre,[…..]
Laurel Nakadate’s work uses unassuming means to memorable effect. Oops! (2000) is a video of a young woman in a tank top and tight jeans dancing a choreographed routine while a man in late middle age dances (or stands) awkwardly beside her. It is mesmerizing in its ambiguity: is she making fun of the man? Which one is being exploited? Beg for Your Life (2006)[…..]
