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.
Just as Dallas holds up its Arts District as its centralized crowning achievement, the city's unassuming margins are looking increasingly seductive.
Paul Kremer of Great Art in Ugly Rooms has been working on making his art less virtual. Now, under Mark Flood's tutelage, he's getting his hands dirty: painting, and painting big.
Together the two shows seem to constitute a kind of zeitgeist. The meaning comes through and the mystery remains intact.
Energetically charged by the elaborate patterning and the warm glow of light, these scenarios reflect Cobb's view that, while reality is just an illusion, it is always alive and bustling with vitality.
The show is a colorful whirl of precise graphic drawings, and maybe it’s my deep aversion to trendy shapes and colors, but these works feel too commercial.
I remember an artist's talk in Junction, sitting in the back, loosening my belt from lunch, and seeing the guy next the me without his shoes on - it was James Surls.
Shouting at the gate attracted the attention of the artists Heath West and Michael Bhichitkul, who cranked open the portcullis and let me in.
Two artists collaboate on a two-layer cake of significance, ripe for icing.