Neil Fauerso

UH's College of Liberal Arts and Social Sciences has received an anonymous gift of $4 million for its creative writing program, along with other initiatives.

Let’s take a quick breeze around town and catch some of the current art at some galleries and boutiques. 

Laarman uses his technology as a true collaborator — a dancing partner, if you will — for his dreams. 

The works are melancholic and incisive, charged with a wisdom of the world and its cruel machinations.

"In my class at UTSA, I’m a sort of homeopathic tincture that’s an alternative to the usual Western art history trip you get at an American university art program." 

New Mexico is the inscrutable blank expression of a Kachina Doll, a white fade under a big sky. It’s chiller, sparser, more silent than either of its neighbors, and there’s reason why if you’re rich and need to dry out your family will probably send you to a “spa” called Desert Sage in New Mexico.

Magdaelana is a place where people collect many things — telescopes, printing presses, rocks, scrap metal, sound installation pieces — and all seem to have a deep and proud knowledge of their possessions. The desert is a good place to store objects — it’s dry and the light is keen to lay things out in.

I had never visited the Midland-Odessa part of Texas until a week ago, but that region looms large in the iconography of Texas.

Staggering out of the museum, I thought of how Hunter S. Thompson, who famously lived in Colorado, wrote that we are entering into an insane fascist forever war, and then shortly after shot himself.

Transcendental Style essentially induces boredom as deliberate technique in order to produce a sort of “ambient plane,” and then cracks it open with a moment of ecstasy and release.

"I’m really driven by people’s sincerity, and as far as curation goes — I feel like that means someone will meet me halfway."

Rockport, under the clarion call of “Rockport Strong,” is roaring back.

Let’s say you were going to open a bar — maybe a craft-beer place that advertised “hand-pulled pints” and is called like Barley Pilgrim. Most likely you would hire a…

Smolleck has an incisive and warm eye. He sees both the splendor and the silliness of regalia, religion, ritual — and the reality of death and the illusion of time.

This summer, Glasstire brings on board Neil Fauerso as Guest Features Editor. Here, Neil introduces himself and chats with Glasstire Editor-in-Chief Christina Rees about the first art they were exposed to, the vitality of of the horror genre, the Trump movie trailer, and the art-political landscape of Texas.

Of all of 'Immersed' installations, Sauter’s is the highlight — dazzling and unsettling, truly immersive and dislocating.

In an age of relentless, braying defenses and assertions of grotesquely 'fixed' concepts, Jiménez's and Cabrera's works say: "No, this is not the world, this has never been the world."

The strength of the show lies in the associations, references, and stories coiled in the works, like sleeping snakes.

Obsessed with the ineffable frisson of live performances, the group Object Collection combed through recordings of more than 1000 hours of Fugazi performances, effectively keystroking through the songs to find moments of shock and surprise.

The hyper-detail, size, and symbolism of the show's centerpiece are overwhelming. It is simply the most beautiful and impressive piece I’ve seen this year.