Lauren Moya Ford reviews Chloe Chiasson's solo exhibition at Dallas Contemporary, which shows scenes from a Texas town that is also a queer refuge.
Lauren Moya Ford
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Lauren Moya Ford reviews an exhibition of 100 drawings of dogs by the Japanese-born, San Antonio-based artist Hiromi Stringer.
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Lauren Moya Ford reviews an exhibition of paintings at Ivester Contemporary by longtime Austinite Ryan Thayer Davis.
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Lauren Moya Ford interviews Mark Castro, curator of "Abraham Ángel: Between Wonder and Seduction" at the Dallas Museum of Art.
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Lauren Moya Ford reviews the group exhibition "Something To Do With Pleasure," on view at 12.26 in Dallas.
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Lauren Moya Ford reviews an installation by the artistic duo Celeste, on view at The Contemporary Austin.
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Review
Review: “Sketches for Three Voices” by Joanna Klink, Annette Carlozzi, and Francesca Fuchs at testsite, Austin
Lauren Moya Ford reviews the exhibition "Sketches for Three Voices," on view at testsite in Austin.
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Lauren Moya Ford reflects on the recent restaging of the performance "Dances with Dogs" by Forklift Danceworks in Austin.
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Lauren Moya Ford reviews the group exhibition "fitting" at Northern-Southern gallery in Austin.
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Lauren Moya Ford reviews the solo exhibition by Jenelle Esparza at the McNay Museum in San Antonio.
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Review
Review: “Painted Flowers Shouldn’t Talk Back: The Houston Garden Artists in the Seventies” by Margaret Killinger
Lauren Moya Ford reviews the publication "Painted Flowers Shouldn't Talk Back," a book about the Houston Garden Artists Collective, which discusses their work and lives.
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Lauren Moya Ford reviews the exhibition "A Commitment to What is Before You," on view at Northern-Southern in Austin.
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The exhibition is a luminous, timely exploration of how both artists find the sublime in the close observation of nature.
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The pieces on display illuminate Europeans’ elaborate, often amusing responses to botanicals, and their desire to possess and preserve plants across time and space.
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“It’s a century where artists think very deeply about what drawing is as a concept, but also about materials and how to use them.”
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Reiland's pictures of women are not so much documentary portraits as gestures of a sort of imaginative empathy, where historical facts and artistic interpretations collide.
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Piwonka takes on the misunderstood world of maleness from a refreshingly unexpected angle.
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Welcome to "In Residence," a new interview series that introduces readers to artists who come to Texas from other parts of the country — and other parts of the world — to participate in artist residency programs.
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“The show gave me the opportunity to look backwards and look forwards at the same time, and to think about the resonance of images, actions, and words then and now.”
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Review
Beyond Frida: Female Mexican Painters Paint the Modern Mexican Woman at the Dallas Museum of Art
After the Mexican Revolution, the country’s daring female artists forged a new picture modeled after themselves and who they wanted to be.