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The gravity and grandeur that one expects from the "classical" in art can't be introduced into the contemporary without its debilitating sidekick, bathos. We all know that. But where does this leave the artist?

And just like fat people never need to be told they're fat because, seriously, they know, the smarter Dallas artists don't need to be told about how stultifying and suburban Dallas life can be. They know.

Gather your friends whose work you actually admire, pool your resources, and rent space in a vacant strip mall for a month.

It feels like a high-wire act; Bates' best works feel intuitive, almost accidental, because the accumulation of decades of experience has afforded him that leisure.

By bringing these images and ideas to the present, the viewer is able to engage with a time when people saw political action as a tangible thing.

Are women’s films still not receiving the same amount of attention as men’s?

Andea’s work has a powerful presence that sparks a sense of uneasiness that is washed down with a bit of self-discovery.

Having grown up in the shadow of Disneyland, Tomaselli transforms the everyday into landscapes of whimsy that are both cosmic and moody.

My collection is not a commentary on or criticism of performance art itself. I do not know anything more about these performances than the single image.

Daou just manages to steer clear of the saccharine, a quality that stalks elegance in general.

She wasn't hired as a security guard, but ended up as project assistant for the William J. Hill Texas Artisans and Artists Archive at the MFAH's Bayou Bend Collection.

CentralTrak is one of the only university-backed residencies in Texas. With a steady gallery program, and a sense of community through constant creative activity, there is professional energy bubbling.

I walked into a conversation about the size of an undisclosed man's penis. Jugdeo's installation at the Lora Reynolds Gallery in downtown Austin is worth sticking around for.

The exhibit was gratefully, blindingly, direct and free of pretense.

Abel Azcona's Utero was far and away the most powerful piece I saw, but parts of it should not have happened.

One can’t help but think about the lives beneath the story and between the shots, and marvel at what must have been a sort of filmmaking Lord Of The Flies situation in the backyards of Gulfport throughout the 80s.

There is nothing old hat about going to the Bible for source material. Certainly not the way Paul Bryan uses it.

It’s akin to that moment in a sceney restaurant when you hear the fifth song that is also on your iPad and you realize…oh, they’re marketing to me.

This iconic and storied Houston art space ain’t going out without a bang.

An internal dialogue between the values Grant believes she's supposed to uphold and the internal thoughts that may or may not contradict them. The viewer is just listening in.