The eclectic West Texas film festival revs up its projectors for four days of adventurous cinema.
The kold, dead hand of Kapital.
It is the most unsurprising and natural thing that, in our consciousness, we would conjure something in the universe, over and over again.
Like the candy machines and kiddy rides, Trailer relies absolutely on novelty. But, while the novelty lasts, it's fabulous.
An intelligent and enjoyable look at symbolic thinking and performance art. I encourage you to hurry—the exhibition ends May 3rd.
Chinelo Ikejimba studied dance and interns at Houston's Contemporary Arts Museum.
The yearly Artforum society column relaying the DAF goings-on makes for some of the year’s best navel gazing.
To fully appreciate the works, one must be vulnerable to the guilt they elicit.
The Houston photographer has a knack for being vulnerable and tough at the same time.
The elbows of time.
The inaugural CounterCurrent had its hiccups, but it wasn't just people getting naked and smearing things on themselves.
As with a whole sub-genre of Mexico-violence art, Aragón's hand-drilled portraits shove the violence straight into your face.
In the light of the spring sun, Houston's landscape of textured surfaces and hand-painted signs is open for viewing.
Formal fragility becomes the ethereal content of conversations past, places lived, at RE Gallery in Dallas.
Bise looks at looking in his Wednesday comic.
History is built from stories; Hubbard and Birchler ask us to pay attention to the role that filmmaking plays in its construction.
Why the phenomenal success of Mexico-City-based English expat Melanie Smith? Because her work approximates perfection.
If this trend continues, next year there will be nothing left to ridicule.
These filmmakers prefer visual noise to clear pictures. The effect is like traveling across interesting landscape with a dusty windshield.
We can enter Lê's semi-permeable walls of the past only with our eyes, much in the way we construct a memory: lacy bits of fact forming a vague half-truth in our minds.