Exploring Latino Identities: Rose G. Salseda
UT Art History PhD candidate Rose Salseda discusses Afro-Latin American identity and art that fuses punk rock, immigration, and post-identity politics.
Recent Issue
Featured
-
-
New York Now: The Ten Second Tour
I spent the week of May 1-7 in New York to see galleries/museums and attend a curator conference. As an obsessive photo taker, I thought [...]
-
Chatting with Sally Glass of Dallas’ semigloss. Magazine
A few months back I took a weekend trip to Dallas, and was impressed by the young, vibrant art scene emerging there. Grassroots arts ventures [...]
-
People in Your Neighborhood: Karen Weiner
Let me introduce to you Karen Weiner, Director, founder and driving force behind The Reading Room at 3715 Parry Ave. in Dallas. Swing the Book [...]
-
Gary Sweeney: How To Disarm Just About Anyone
1. What’s your favorite merit badge? My favorite merit badge was the “Fingerprinting” badge, which I’m sure they don’t even have anymore. My father was [...]
Recent Posts
James Saldivar: Spaces in Between at Silkwörm Gallery and Studio
It's the hue-riffic essence of what Silkwörm Gallery and Studio owner, Joe Mc Hug says is a “Post-Chicano” sensibility.
Jameel Prize 2011 at SAMA
Koraïchi's complex, illegible banners and the white magic they enact suggest the western perception of Islam today: without education and awareness, we are locked out of understanding.
Austin New Media Art and Sound Summit Begins Tonight!
A three day summit of creative music including performance art, film, and installations is about the coolest electronic music geek-out session I can think of.
Romare Bearden: A Black Odyssey at Amon Carter Museum of American Art
Bearden and Homer cleverly spin experience into a something we can all sing—Cyclops, Circe and Nausicaa are recounted in colorful and expressive collages, which take cues from Matisse’s cut-outs and blend them with African tropes.
Jesse Morgan Barnett: Season at The Reading Room
Season is dedicated to the act of fishing and its trappings—in the center of the gallery, the hacked-off bow of a sailboat lies atop a white table like the carcass of an enormous fish that’s been laid there for cleaning.
Memento Mori, or, Remembering to Forget
Organized by the DMA’s Olivier Meslay with help from the Amon Carter, it's a small, thoughtful gem of a show, and dense with emotion—a surprise grenade of grief, wishful thinking, and soul searching.
Parallel Practices: Joan Jonas & Gina Pane
Using themselves and their bodies as inception, means and end to art production, Jonas and Pane's work is a precursor of today’s predilection for transforming private aspects of existence into spectacle.
Brandon Araujo: New Paintings at Domy
Unconventional placement tests how Araujo’s work holds up in contexts outside the traditional exhibition space, and speaks to the curator’s happy-go-lucky sensibility, but feels confused.
Exploring Latino Identities: Gabriel Martinez
In today’s installment, Houston artist Gabriel Martinez talks about trespassing, staking a claim for art, and making a scene.
Anne Ferrer: Blow Up at Red Arrow
Ferrer’s work reminds me of carnivals and cupcakes, but underneath the Cirque du Soleil atmosphere, there is something hallucinatory—like walking around in Johnny Depp’s Wonka candy forest or waking up after a fall down the rabbit hole.
Frieze New York, or How I Learned What You Can Get Away With
Frieze is the fair with all the hype—and three cafes, wood-paneled porta-potty complexes, a VIP room and air-conditioned tents out on Randall’s Island. Highlights shall now ensue.
The Color Black: A Conversation in Three Parts at 500X
New works by Diane Durant, Timothy Harding and L.E. Doughtie use the color black as a symbol for absence or void, the primal element that obscures, rather than reveals information.
