Those of us who came of age in the ‘80s walk into the show with a sometimes dread-inducing association with that time, but walk out feeling at least a little better about this uneven and unsettling moment in recent art history.
De Kooning’s corner man was the Grim Reaper and Blizard's was Frosty the Snowman.
So what is the value of a good painting? What the market will bear, I suppose, but also the pleasure it offers to the viewer.
This is real art by real working artists. The populist bent was a considered choice. The show’s remit is simply to represent each region in the nation and be a people pleaser.
The abjectness of the materials evokes a modern-day Robinson Crusoe or the Professor on Gilligan’s Island trying to build low-tech devices out of anything on hand, for sending out an urgent SOS.
The fall art season is cranking up: tasty new shows and events beckon from every side like the nozzles at a frozen yogurt bar —and the gummy worms on top were the 56 booths at this years' early edition of the Texas Contemporary Art Fair.
On the red carpet with the VIP crowd at the George R. Brown Convention Center.
Are you the type to ask an artist: "Can you recommend an art consultant who might know if you’re any good or not?"
It’s nice timing that the MFAH’s “Truffaut: On Childhood” series has arrived on the heels of Richard Linklater’s recent coming-of-age film, Boyhood.
At the opening, DJ Thin Mint dressed as the Nance-costumed "Yeti" stole the show. It was a “What the hell is going on here?” kind of thing.
I’ll restate something, for the umpteenth time: People in the art community here are too polite.
This installation of the Sights Unseen series finds layers of family, history, and memory on display at a Houston cafeteria.
After the beach, old times are Galveston's main attraction. Tintypes and a new Wild West Village pull visitors back into the 19th century, sort of.
It's just too easy to read: graffiti meets Abstract Expressionism, but cleaned up and lacking the hurried rawness or energy of either genre.
Bill Davenport, Rainey Knudson, and Christina Rees go on location to count down our favorite public artworks in the state.
On the eve of her big CAMH show, Houston artist and Glasstire contributor Carrie Marie Schneider's guerilla post shows how it might have been.
While I am a huge fan of performance art, there were some issues here
The intensity and ego-wrangling within art collectives makes them nearly impossible to sustain for very long, so the loss of Homecoming as we know it comes as no surprise.
The Louise Bourgeois Spider had already been removed, but it was easy to imagine it dragging a struggling, web-wrapped Sam Houston into the reflecting pool.