To reintroduce a passé subject without the crutch of irony or impressive technical skill is a challenging task. Bodycomb needs to channel her inner Hitchcock.
Vélez's work at Oliver Francis Gallery has a simple aesthetic: angry and loud.
The rejiggering at Blue Star has transferred Monseau's energy to an expanded and exciting pop-up curatorial practice.
Maybe it’s some kind of retro zeitgeist but these circa-1960s sculptures seem incredibly contemporary.
The 17th annual Extremely Shorts Film Festival presents an eclectic mix of movie moments from around the globe.
Pallasvuo's "Nu Paintings" are a virtual call to arms.
When all the spaces are digitally rendered in high resolution, belief will be moot, the equation will be solved, and ghosts really will cease to exist.
Back in 1993, in what to my own mind may count as the single most inspired feat of performance art of all time, Pinoncelli had urinated into the sculpture as it lay on display in Nîmes, France.
GrayDUCK re-opens with Leigh Ann Lester's new works that toy with classical botanical drawing, nearly falling prey to the lures of that historical genre.
Intensity is not a perfume!
Though these lurching masses and ethereal constructions are assembled collections of junk, the space is anything but a hoarder’s trove.
No genre of work is spared the tongue-in-cheek slight of becoming a roadside attraction.
Emilee Cooney, auction assistant at the Houston Center for Photography, talks about the behind-the-scenes choices and preparations that go into HCP's annual fundraiser.
To Glasgow from Austin with love. Michael Smith’s Video and Miscellaneous Stuff from Storage (pt. 2) at Glasgow International 2014
In the States, Mike is an Everyman, but in the UK, Mecca of dry humor, Mike is every American.
So long Pollock! See you later Franz Kline! Art-sports spectacles are proliferating like NFL playoff slots!
Completely over the top, it seemed headed on an accelerated train to boring queer performance art, but boychild used this emotional detritus to perpetually construct masks and build identities.
The gesture of extending a bouquet to women lost and forgotten is a lovely one, but being tethered to housework seems less of a problem today than the thigh gap craze or persistent male/female wage discrepancies.
Images from Houston's annual rolling group show, the Art Car Parade.
Imagine if ABC's cheesy After School Specials featured Sesame Street characters whacked out on crack with a dose of Ryan Trecartin’s depravity. That's Elissa Stafford's House Party.
"Art that cannot rely on the joyous, heartfelt assent of the broad and healthy mass of the people, but depends on tiny cliques that are self-interested and blasé by turns, is intolerable."