The Art World has undergone a second pop invasion—this time it’s authentic pop, and The Museum of Modern Art has slipped into a warm bath with its razor to kill itself like a Roman Senator.
The Galveston Artist Residency made an interesting curatorial choice in pairing works with actual plants. The plants made more sense with some work than with others.
I’m 80% sure that Dallas is still not an art destination and doesn’t deserve the frequency with which it appears in the travel sections of other cities’ magazines and newspapers.
John Atlas' retrospective at Houston's Art Car Museum closed on March 28, but, with luck and maybe persistent nagging, we will be able to check in on him again in less than 26 years.
At that moment, I understood through an experience what I’ve known intellectually for a long time; the greatest strength of American capitalism lies in its ability to steal and neutralize the authentic, local culture and art of the enslaved, the poor, and the dissatisfied.
The painting range from loose and funky, almost alien-looking collages of lawns and hedges to photorealistic snapshots that capture a particular sunny California day.
The back and forth emails and exchange of files of information over 4,000 miles of separation forced a creative constraint that was serendipitous for both artists.
Cunningham-Little began her career working in a traditional craft medium, but veered far afield. Her sculptures from the early 1990s are literally glass houses, each a container for metaphoric imagery about domestic violence.
Sometimes a sandwich is just a sandwich, Dr. Freud.
Cities cling in perpetuity to a hometown boy made good. Mel Chin left Houston in 1983, and was clearly influenced by the time he spent in our diverse, surreal and polluted swampland.
Pop culture’s nostalgia obsession has reached an absurd level, and every decade since the beginning of the last century is getting the romance treatment to a startling degree.
It's as if the gallery was shedding its skin at the command of someone's fairy godmother, but the effect isn't as vivid as it could be.
You're out of room in your house, your kids don't want it, you know better than to give it to Goodwill, and you're not going to pay for storage. What do you do??
Nature and culture constantly collide in Walker and Wellen’s Galveston exhibition – much like the terrain of the barrier island itself.
El Pastor's context is Juárez. His paintings aren't so much about indignation as they are about anguish for his narcotics-destroyed city and serve as means for viewers to share in the pain of that destruction.
Texas Gallery has had a great string of painting shows recently, the latest treat is a roomful of Christmas puddings from nascent art star Jeremy DePrez.
Live is mixed with staged to explore rehearsal, mimicry, and self-representation in an immersive, theatrical ambience.
Glasstire Founder Rainey Knudson interviews Hugh Forrest, Director of the South by Southwest Interactive Festival.
Crystals, brain scans, gems, abandoned swimming pools, and Antarctica are just a few things Biggs grapples with at the Blaffer Art Museum.
This Friday, Houston audiences have the rare opportunity to journey into the nocturnal underworld of late-60s Tokyo in the experimental queer film that influenced Kubrick’s A Clockwork Orange.