With only two or three inches between each work, the exhibition doesn't exactly lend itself to parsing, but it's a show about transition: from where the gallery has been to where it is going.
Forgive me, Father: I paid $20 to have my artwork in a juried exhibition with 30 other depraved artists. I did so with full free will and knowledge of my actions and know this is a mortal sin.
Despite the randomness and repetitiveness, the body hair and the cheesecake, it looks like fun.
A tour of societal codes and cinematic translations with the outrageous philosopher and cultural critic Slavoj Žižek.
The vision of chaos that greets the viewer at the door strongly asserts Pruitt's unwillingness to supply more of his popular drawings without some conditions.
Glasstire first-responders fish valuables from the onrushing flood of Spring Art Activity across Texas!
People look to all kinds of things to explain what and why things happen—some more methodical, others more Methodist. That’s precisely the area in which Chris Sauter’s work dwells.
A charming show of wallpaper at the Museum of Fine Arts, Houston pairs historic wallpapers with contemporary examples that slyly riff on traditional patterns.
A 30-year veteran of Conceptual art has called Austin home since 2006. Co-Lab has staged a museum-worthy mini retrospective.
For his new, self-titled show, he examines themes of masculinity, and what he calls "the fetishization of the desirable and identity." The principal image is obvious: Cocks.
In case you missed last year, here's a five-minute summary of some of the more notable Texas art occurrences.
The resemblance of the bags to “shoppers” raises questions such as who's shopping, for what, what's being shopped?
Hills Snyder visits Ivor Shearer's haunting real world re-shooting of The Road: "You are left with that which cannot be escaped. And it follows you out the door."
Especially in the low light of the bar’s evening ambience, the salon-style constellation gives the impression that La Carafe is where all souls—good and bad, gloriously joyful and dreadfully serious—come to raise a glass, get at least slightly crooked, and disappear into time.
Tanner's incredibly skilled oil on panel paintings at Moody Gallery each tell one of Aesop's Fables, while the Brandon hosts a fascinating look at the "Lizard Cult" of Lee Baxter Davis, Trenton Doyle Hancock, Robyn O'Neil, Georganne Deen and Gary Panter.
It feels like the viewer is being led down the bizarre maze of invention, where fleeting thoughts flicker like a lotto machine and the art featured happens to be the image we landed on.
A tour of the popular hells and the famous artworks therein, set to a groovy soundtrack!
And as with the sublime in nature, wonder is a big part of the experience of being with Geffert’s complicated work, but there is little in the work that confounds the mastery of their own execution.
Galleries exist in a strange gradient between shop and museum, money-maker and cultural institution. Pragmatism has certainly dictated that this exhibition leans toward the former.
Magee's quirky paintings on found wood explore a personal cosmology of signs and symbols like an updated, more polished Forrest Bess.