1.21 / Review

A Closer Look at Daily Serving

By Art Practical Editors August 18, 2010

One of the exciting developments at Art Practical this spring was creating a partnership with Daily Serving. Under the direction of Seth Curcio, Daily Serving is a dynamic international forum for the visual arts that works with a global network of contributors to provide resources about artists, art spaces, and events every day.  What follows is a list compiled by Art Practical’s editorial team of some of the outstanding articles Daily Serving has produced over the past twelve months. It exemplifies why we are so excited to be partnering with them, and we invite you to take a closer look.


“Act Up at Harvard Art Museum” by Catherine Wagley. Published December 15, 2009.

“Art and politics belong together, but not in the way the way global warming belongs to Al Gore, or the FDA belongs to Phillip Morris—there shouldn’t be any self-congratulation, lobbying, or under-the-table favors. When I think of the potential of political art, I often think of David Wojnarowicz’s videos from the early ‘90s—portraits of disintegration, they attacked Aids-era government with a vengeance so guttural and naked that they turned politics into gut-spilling and made viewers who voted red squirm just as badly as viewers who voted blue.”  More »

“Interview with Allison Schulnik” by Seth Curcio. Published January 17, 2010.

“SC: Learning that you are an avid painter, sculptor, animator, dancer and musician, and by viewing the myriad of works listed on your website and your exhibition schedule, it appears as if you are a very prolific artist. What is an average day like for you in the studio?

AS: Once I get into the studio I stay there all day, sometimes all night.  I like privacy.  I sit and stare a lot.  I like to snack, and to look at stuff. I find weird little things to do.  Sometimes painting comes in a very concentrated way.  Then, sometimes it comes with a fury of dancing and singing… the music is always loud.” More »

“Interview with Richard Patterson” by Noah Simblist. Published February 22, 2010.

“NS: You have said that these paintings are not meant to be purely ironic like the way that Jeff Koons uses appropriated imagery for a sly commentary on contemporary life.

RP: Koons is all about irony. But, there is a melancholy and genuineness, a specific mood in some of my paintings that isn’t there in Koons. Koons is all about the tedious stuff about consumerism.” More »

“From the DS Archives: Willie Doherty” by Kelly Nosari. Originally Published: June 4, 2009; republished March 29, 2010.

“Despite the fact that Doherty addresses deeply personal subject matter, he maintains distance in his work. He never features his own image or voice, but instead employs actors to fill that role. The eerie, haunting, and typically reticent imagery found in this exhibition reference images and places that seem familiar to the viewing audience and are therefore quite relatable.” More »

Ted Purves and Susanne Cockrell. Temescal Amity Works (July 2004-January 2007).

Bryan Graf. An Encyclopedia of Gardening, 2010; two panels of hardcover book covers; each 24 x 32 in; installation view, "Young Curators, New Ideas III." Courtesy of the Artist, the Curators, and PPOW Gallery, New York. 

“Ron van der Ende: A Shallow Wade” by Celie Dailey. Published April 27, 2010. 

“These images might be meaningful, strengthening pathways between common symbols and forms, or maybe they are red herrings, disparate sources of inspiration for the artist that propel us to draw up connections.  Images display famous characters, workers, and their things, and in wood we see flags, products of factories, and items of sport and luxury. And, in front of us is art for sale, participating in the wealth-making world it critiques.” More »


“Anthony Discenza: Everything Will Probably Work Out OK” by Allison Gibson. Published May 13, 2010.

“Discenza’s text-based work is both literary-minded and low-brow laugh-inducing, and references the artist’s interest in what he calls an “internal viewing experience,” which is born of the freedom offered when one steps back from the constant heckling of image-based culture. His aluminum “street signs” offer the sort of one-liners that the Age of Twitter has become known for, though their enigmatic sentiments require a deeper dive into the murky waters of the wasted adult imagination than most 140 character witticisms.” More »

“I Love You Jet Li” by Catherine Wagley. Published July 2, 2010.

“My grandmother’s single countable heartbreak involved a married captain named Brooks. He was stationed at the army base at which she worked as an activities coordinator. He practically ordered her to date him, charmed her into loving him and then sent for his family. When my grandmother found out that his wife and children were on their way, she stopped taking his calls, and so Brooks tried to seduce her friendly Methodist roommate instead. ‘You must never compare the other men you meet to me,’ he once told her. This sounded narcissistic and patronizing to me. ‘But it turned out to be good advice,’ my grandmother said.” More »

“Summer of Utopia: Interview with Ted Purves” by Bean Gilsdorf. Published July 19, 2010.

“It’s really horrifying, utopia, because it’s the idea of agreement about what a perfect society is.  We don’t live in times of agreement or tribal identity or singular religious identity. We live in a situation of disagreement and negotiation.  I’m much more interested in the notion of democracy rather than the notion of utopia, because it allows for the possibility of negotiation and change and alteration.” More »

“This Time with Feeling: Young Curators, New Ideas III at P-P-O-W” by Michael Tomeo. Published August 3, 2010. 

“I love how far the term ‘curate’ has fallen. Once particular to egg-headed museum types who cared for collections of rarities, now curating, at least in marketing terms, means nothing more than making a kind of fancy or personalized choice. Instead of plain old dinner and a movie, you can now curate the best locavorian burger and artisanal fries while selecting a companion film from your finely tuned Netflix queue.” More »

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