Tomlinson carries a notebook with him at all times to capture the “cognitive dandruff” and “exfoliations” of his mind, a humble and lyrical way of describing the permutations of an active and prolific thinker.
After the closing of so many art spaces in Austin in the last couple of years, perhaps it’s a sign of health that shows like Tennison’s can exist at a place like ATM.
Although the curators say this particular exhibit of the Medianale isn’t theme-driven, I noticed a couple of common threads between videos including a riff on the idea of call-and-response music, and re-interpretations of previous iconic videos/films, which is a take on call and response in itself.
The pièce de résistance of the Outdoor Art Exhibit in Eastland, Texas, is a 12-foot-tall cylinder painted to resemble one of Andy Warhol’s Campbell’s Soup Cans located in the parking lot of the Dairy Queen.
Just two weeks ago, it was reported in the Wall Street Journal (Sunday, Jan 3 -4, p. D11), that “Text as Decor” is, as of now, passé. Not that Jeff Wheeler and Maisie Alford care.
The artwork is semi-interesting. We can get a decent overview of the current state of abstract art being produced in Texas, and it’s not awe-inspiring.
In the studio, Lanfear's collections of objects become the raw material for artworks that evolve through an intuitive process of finding creative avenues for their arrangement and presentation.
With many Lake|Flato buildings, a principled range of materials — stone, steel, concrete, wood — are recruited to create airy, boxy forms that provide unambiguous continuity between outside and in.
Rainey Knudson interviews the crowd at the opening of Ed Wilson: A Survey, at the Art League Houston. Visitors comment on Wilson's work, the Houston art scene, and the ongoing controversy.
This week, film artist Roger Beebe is touring Texas with his multiple–projector presentation, Films For One To Eight Projectors, with stops in Houston, Austin, and Dallas.
If Olafur Eliason proposed Monet on Ice to the MFAH, it would have been done right. visitors would skate down a virtual frozen Seine, winding through the galleries past real paintings.
For Loris Gréaud's show at the Dallas Contemporary, is the destruction of the work meant to be our release from all that industry? If so, I might have welcomed more destruction and less burden.
