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Mocking the grief of adorers of John Lennon, Princess Diana, and John Kennedy seems blasphemous.

It's the hue-riffic essence of what Silkwörm Gallery and Studio owner, Joe Mc Hug says is a “Post-Chicano” sensibility.

Koraïchi's complex, illegible banners and the white magic they enact suggest the western perception of Islam today: without education and awareness, we are locked out of understanding.

A three day summit of creative music including performance art, film, and installations is about the coolest electronic music geek-out session I can think of.

Bearden and Homer cleverly spin experience into a something we can all sing—Cyclops, Circe and Nausicaa are recounted in colorful and expressive collages, which take cues from Matisse’s cut-outs and blend them with African tropes.

Season is dedicated to the act of fishing and its trappings—in the center of the gallery, the hacked-off bow of a sailboat lies atop a white table like the carcass of an enormous fish that’s been laid there for cleaning.

Organized by the DMA’s Olivier Meslay with help from the Amon Carter, it's a small, thoughtful gem of a show, and dense with emotion—a surprise grenade of grief, wishful thinking, and soul searching.

Using themselves and their bodies as inception, means and end to art production, Jonas and Pane's work is a precursor of today’s predilection for transforming private aspects of existence into spectacle.

Unconventional placement tests how Araujo’s work holds up in contexts outside the traditional exhibition space, and speaks to the curator’s happy-go-lucky sensibility, but feels confused.

In today’s installment, Houston artist Gabriel Martinez talks about trespassing, staking a claim for art, and making a scene.

Ferrer’s work reminds me of carnivals and cupcakes, but underneath the Cirque du Soleil atmosphere, there is something hallucinatory—like walking around in Johnny Depp’s Wonka candy forest or waking up after a fall down the rabbit hole.

Frieze is the fair with all the hype—and three cafes, wood-paneled porta-potty complexes, a VIP room and air-conditioned tents out on Randall’s Island. Highlights shall now ensue.

New works by Diane Durant, Timothy Harding and L.E. Doughtie use the color black as a symbol for absence or void, the primal element that obscures, rather than reveals information.

Filmmaker/photographer Bill Daniel‘s work has been in countless prestigious museums and festivals, but he’s more focused on connecting with artists, outsiders, and oddballs than big money or art stardom.

No one knew what it was until 2006, but now, everyone is getting in on it, even Texas museums.

Houston artist Chris Cascio relays some recent words of wisdom: "Mark Flood is a wealth of good advice . . .that you shouldn't always listen to."

With a combined running time of under six minutes, Roman Signer’s three-video loop at Rice University’s new RG cubicle video space is perfect for anyone [...]

Davide Savorani and Michelangelo Miccolis, Savorani’s technical and performative assistant, have been working on a series of projects including a room-sized installation in Savorani’s studio space at [...]

Not How It Happened by Chicago-based Joel Ross and Jason Creps, currently on view at Tiny Park gallery in Austin, is at once, a drawing, [...]

Andy Coolquitt’s Attainable Excellence at the Blaffer Art Museum is divided into two distinct modes, as is his career. According to the 49-year-old artist, the [...]