Blog

This exhibition, and its accompanying catalogue, is one that any student of the medium dares not miss.

What was it about Wols and this brief, vague period in art history that gave me the impression I was looking at religious icons?

It's a serious show, but it's not a dick about being serious; I think that's something everyone in the art world needs to learn.

You may like them. You will see. You may like them in a tree!

After the lecture was a tightly coiled media hour. A star was in the building. The star that built the building was in the building. I was stunned by the amount of poetry and humor that emerged inside a handful of minutes.

Pairing of Gillick and Vitale is a strategic curatorial pick for the rebranded institution. This choice is as smart as it is risk-free.

Swank: saturated style, confidence, nostalgia, sex, gloss, perfection to the point of sleaze. The works reach out to you and say, “Why don't you relax and sit on the leather sofa while I mix you a drink?”

In contrast to my recent NY posts, here is a leaner wrap-up of my trip to Los Angeles for bi-coastal balance.

When Prada Marfa was inaugurated it seemed self-evident that this would lead to a situation like we find today: johnny-come-lately corporate giant seizes upon the precedent and employs it to culturally legitimize advertising.

The hot tub installed in the gallery for the opening night was just the beginning.

After spending almost four hours at Canopy, I needed a break from talking to awesome artists and eating crickets.

The two big c's are warranted here: crepuscular and chiaroscuro. The miasma of not-quite-blacks encroaching upon vulnerable fauna resembles sludgy crude oil — a reminder of the 2010 BP spill and too many others in the Gulf of Mexico and elsewhere.

Placed in a post-apocalyptic setting created with wallpaper, video and audio, Beshty's works read as a naive understanding of what it is to live in Mexico's landscape of violence.

The work of casualists and provisionalists like Walker is not Jerry Salz's “Neo-Mannerism.” These artists are, if anything, neo-modernist. This crop of new, young work in Dallas is a throwback to Giacometti, Guston, and Rothko.

The current show at the MFAH's Glassell School isn't all Political Economy 101.

The inaugural post in our new series highlighting art outside the art scene illuminates the 75 year old circus mural that inspired the Toys R Us giraffe, hidden under the ceiling of a bar in Midtown Houston.

The original “Leipzig School” was a group of artists behind the Iron Curtain, isolated from western trends. These five "New Leipzig School" artists are their students.

A good old-fashioned compare and contrast. This show marks a drastic change in O’Neil’s work.

The Linda Pace Foundation's new executive director talks to Glasstire about LPF's exhibition program, their collections, and their building plans.

Fischer makes his way though the massive Kelly retrospective and ends on a transcendent note. No more New York until spring, we promise!