Courtney Thomas reviews "Poe: A Tale of Madness," a collaborative ballet that looks at the tragedy of the life of writer Edgar Allen Poe.
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Review: Paul Hester’s “Prisoners of Masculinity” at Andrew Durham Gallery, Houston
by Ronnie Yatesby Ronnie YatesRonnie Yates reviews a survey of works by longtime Texas photographer Paul Hester.
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Meher Qazilbash reviews an exhibition of unassuming street photographs that tell partial stories of the subjects' lives.
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William Sarradet reviews exhibitions by Christopher Blay at the Galveston Art Center and Masha Sha at the Galveston Artist Residency.
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EspañolReview
Reseña: “Roberto Jackson Harrington: Mama’s Boy or an Inexplicable Reasoning” en La Mecha Contemporary, El Paso
by Hannah Deanby Hannah DeanHannah Dean profundiza en las tuercas y tornillos (y bridas y cuerdas de bungee) que hacen funcionar el consumismo en su reseña de "Mama's Boy or an Inexplicable Reasoning".
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Review: Georganne Deen’s “When I Was a Riot of Spring” at Bale Creek Allen Gallery, Fort Worth
by Hills Snyderby Hills SnyderHills Snyder reviews an exhibition of vulnerable, alien-like paintings by artist Georganne Deen.
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Ruben Cordova writes about the one-night exhibition "Las Muñecas en la Calle Guadalupe," which looked at the history of sex workers in San Antonio.
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Michael Flanagan reviews the film "Omar and Cedric: If This Ever Gets Weird," about the lives and creative partnership of artists Omar Rodriguez Lopez and Cedric Bixler-Zavala, which screened at the 2024 SXSW Festival in Austin.
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Review: Michele Brangwen Dance & Music Ensemble’s “Faces of Sun and Wind” at the MATCH, Houston
Garland Fielder reviews a recent piece in Houston that coupled concerns about renewable energy resources and performative art.
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Beach Balls and Paper Planes: Contemporary Art Month, San Antonio’s “Recess”
by Seyde Garciaby Seyde GarciaCAM Critical Writing Fellow Seyde Garcia writes about Recess, the CAM breakout performance series at Ruby City
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William Sarradet writes about exhibitions at the New Orleans Museum of Art, the Ogden Museum of Southern Art, and the Contemporary Art Center New Orleans.
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Ruben Cordova reviews the exhibition “Upward Mobility” by Einar and Jamex de la Torre, on view at the McNay Art Museum in San Antonio.
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Anna De Filippi reviews the exhibition "A Horseshoe Over a Door," featuring Skylar Haskard and Devin T. Mays, on view at F in Houston.
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Lauren Elizabeth Shults reviews an exhibition of disparate but similar portraits that take on the Jungian idea of synchronicity.
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Review: “Belonging: Contemporary Native Ceramics from the Southern Plains” at the Louise Hopkins Underwood Center for the Arts, Lubbock
Michelle Kraft reviews a show of ceramic works by seven Indigenous artists, on view at the Louise Hopkins Underwood Center for the Arts in Lubbock.
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Review
Review: “Roberto Jackson Harrington: Mama’s Boy or an Inexplicable Reasoning” at La Mecha Contemporary, El Paso
by Hannah Deanby Hannah DeanHannah Dean gets into the nuts and bolts (and zip ties and bungee cords) of consumerism in her review of "Mama's Boy or an Inexplicable Reasoning."
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William Sarradet writes about recent exhibitions on view in Dallas, at Conduit Gallery, Keijsers Koning, the Oak Cliff Cultural Center, and Talley Dunn Gallery.
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Review
Spiritual Essences: Delita Martin at the University of Texas at San Antonio Russell Hill Rogers Galleries
Christopher Karr reviews "Delita Martin: Her Temple of Everyday Familiars, A Retrospective," an exhibition of portraits by the artist that capture the spirit of Black womanhood.
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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.
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Jessica Fuentes writes about works by Nortejiendo, Haydee Alonso, and Veronica Ibargüengoitia, on view in the “2024 Border Biennial / Bienal Fronteriza 2024” in El Paso and Ciudad Juárez.