In his first solo exhibition, sub, at Farewell Book in Austin, Erik Shane Swanson transforms a bookstore gallery into a dizzying padded environment.
What makes Art 21 so successful is how it demystifies the conundrum of what we refer to as contemporary art.
Bill and Rainey discuss Sun Ra, Jim Roche, Sarah Morris and the rest of this week's top five art events in front of our trippy new green screen.
Two Houston exhibitions share a low-key, amorphous spirituality.
I’ve certainly noticed a “go with the flow” attitude for Chinati Weekend in not fighting all the artists’ love and regard for the local landscape. I, too, went with the flow.
The casual pace reminds me more of Los Angeles than New York, though we could just call it Marfa Time.
Watching someone doing something weird in public demands that we cast aside our assumed notions of what is proper and what is possible.
I'm not saying that many of the works on display would not have been better left in their shipping crates, but whether dogs or divas, I'm glad they were here.
Alverson's finger-lickingly tactile bricks, bars and tubes and his leaden, gloomy colors invest simple symbols with whole operas of pathos.
Film artist Jodie Mack brings flickering patterns and her personal rock opera to Houston and Austin MONDAY, TUESDAY and WEDNESDAY!
Compared with the lardtastic Tex Mex and barbeque that pervades the rest of our city, Third ward is an oasis of vegan, vegetarian, and other restaurants offering a cornucopia of healthy options.
The artist's human-made randomness is controlled through edits, but Walker isn’t interested in controlling nature. This is a language he’s creating to commune with it.
Art at Halftime, on the iTunes store, and in the galleries: here are three of the thirty-five things I've seen, photographed and made notes on this busy September.
In many ways this show stays the course of what Ball has been exploring for the past few years: quasi-scientific abstractions of the real world that sometimes resolve themselves and other times remain entirely ambiguous.
Luckily at the Hub City’s downtown edge is its Cultural District, and at the heart of it all lies the Louise Hopkins Underwood Center for the Arts.
Do not attempt this yourselves. These artists are professionals on a closed track.
The Houston Fine Art Fair was beyond terrible. Is this is the real international art world?
Those of us who came of age in the ‘80s walk into the show with a sometimes dread-inducing association with that time, but walk out feeling at least a little better about this uneven and unsettling moment in recent art history.
De Kooning’s corner man was the Grim Reaper and Blizard's was Frosty the Snowman.