Neil Fauerso

I made sure prior to the Austin screening to post on social media jokes about no one wanting to go with me, to secure that I couldn’t bail the day of, like a poser. What is the purpose of depicting such misery, especially in almost real time (sometimes in a surreal, slower than real time)?

The three shows form a remarkably detailed and cogent meditation on power, spaces, and relationships.

One of the revelations of this exhibit is how various visual artistic movements throughout the 20th century are physically manifested and demonstrated through theater and performance. 

Reviews of current shows by Jorge Alegría, Mario Ybarra Jr., and Jennifer Ling Datchuk.

Artists, musicians, and other creative people are leaving Austin for smaller towns in the Hill Country.

“It’s harder to get people out during the holiday season for truly transgressive work,” she tells me. “Wait 'til the new year.” 

These pieces are beautiful, dynamic sculptures that activate a lingering disquiet that they should… do something.

Both of these shows speak to the slippery and amorphous nature of systems, how they replicate and cannibalize their opposition.

All three current Artpace resident exhibitions in San Antonio address freedom and constriction of the individual, nature, and culture.

Shows by Emmanuel De Sousa, Jesus Treviño, Alán Serna, and the Wheeler Brothers wrap up this long Texas summer.

To explain what distinguishes the Trump aesthetic from the old far-right American style, let’s take a look at MAGA’s nexus of aesthetic accoutrements. 

The finished structure indeed has the gravitas of a temple, and is as much a work of art as the collection it houses.

It is hard to think of an artist more emblematic of San Antonio's contemporary art output than Ken Little. 

One of the joys of living in Texas is that the state’s mythology and presence looms so large that it often inspires visiting artists to make works specifically in response to the Lone Star State.

Lester uses blind contour — the act of drawing an object without looking at the paper — to physicalize the inherent impossibility of a perfect copy in the propagation of life.

These days, what is the provocateur to do?

Mérida is blindingly bright and colorful, viscerally hot, and endlessly beguiling.

By isolating something as simple as a tree and creating multiple perspectives through the lenses, Cartterfield's work evokes the idea of a life lived as if looking out from the window of a train.

One can question why alcohol has to be an underpinning of basically all social events, and a recent two-fer show by Amada Miller and Nicholas Frank does just that while creating a fantastic bar at a gallery. 

Scott Walker took an 11-year hiatus before returning for one of the most remarkable final artistic acts in memory.