I pointed my Instagram-primed iPhone up at the blocks, tilting back until the espresso I forgot I was holding dumped all over my face and collar. I blame you, Lewis.Tsurumaki.Lewis!
The week's best art events in Texas, some amateur climate modeling, and a pratfall.
Best known for his distinguished body of portraits and self-portraits, Ángel Rodríguez-Díaz has also established himself as an accomplished printmaker and public artist.
Austin-based multimedia artist Luke Saviski's Ht/X event opens Houston's CounterCurrent 15 festival.
Nowhere else can you make as pointed a statement about commodification, while still being so wretchedly complicit!
This is a truly international fair. I don’t mind the low ceilings at all anymore.
French Street Artists have changed the face of urban art for everyone, giving the genre credibility and the sort of elegance that only the French can achieve.
Together, SOFA Gallery, Ruggiero, Wick, and this exhibition embody the hope and the drawbacks of contemporary art in Austin.
Photocollages in the ancient tradition. I wouldn't have believed there was another rabbit to be pulled out of that old hat!
The Art World has undergone a second pop invasion—this time it’s authentic pop, and The Museum of Modern Art has slipped into a warm bath with its razor to kill itself like a Roman Senator.
The Galveston Artist Residency made an interesting curatorial choice in pairing works with actual plants. The plants made more sense with some work than with others.
I’m 80% sure that Dallas is still not an art destination and doesn’t deserve the frequency with which it appears in the travel sections of other cities’ magazines and newspapers.
John Atlas' retrospective at Houston's Art Car Museum closed on March 28, but, with luck and maybe persistent nagging, we will be able to check in on him again in less than 26 years.
At that moment, I understood through an experience what I’ve known intellectually for a long time; the greatest strength of American capitalism lies in its ability to steal and neutralize the authentic, local culture and art of the enslaved, the poor, and the dissatisfied.
The painting range from loose and funky, almost alien-looking collages of lawns and hedges to photorealistic snapshots that capture a particular sunny California day.
The back and forth emails and exchange of files of information over 4,000 miles of separation forced a creative constraint that was serendipitous for both artists.
Cunningham-Little began her career working in a traditional craft medium, but veered far afield. Her sculptures from the early 1990s are literally glass houses, each a container for metaphoric imagery about domestic violence.
Sometimes a sandwich is just a sandwich, Dr. Freud.
Cities cling in perpetuity to a hometown boy made good. Mel Chin left Houston in 1983, and was clearly influenced by the time he spent in our diverse, surreal and polluted swampland.
Pop culture’s nostalgia obsession has reached an absurd level, and every decade since the beginning of the last century is getting the romance treatment to a startling degree.