The wunderkammers we experience in museums today are less about the objects they contain, and are more exhibits about exhibiting, displays about display.
Christina and Rainey are relieved it's not all about luxury goods this week.
"Well, I decided to have really nice cars rather than children."
For Eric Zimmerman's solo show at Art Palace in Houston, the artist's choices reverberate with and contemplate the relentless course of history.
In 1988, and an art-appreciation class introduced me to Chris Burden along with the idea that a person would have himself shot or crucified or potentially electrocuted to death for the sake of art.
A 90 year-old artist who says he is telekinetic: the work is not only not cheesy but wholly convincing.
The outgoing director of Lawndale Art Center discusses the Houston art scene, past and present.
Christina and Rainey are heavy on the sci-fi and naked ladies this week.
Over the past several years, Górowska has set about to remake some of Francesca Woodman’s weirdest atmospheric images as short performances documented on video.
A brief meditation on the size of Texas and the variety of people and concerns as it relates to art communities, cross-pollination, and even Glasstire.
The MFAH's landmark exhibition assembles conceptual Japanese photo-based art from the late-60s and 70s previously unseen in this country.
Rainey visits Bill's Junk for Bill's sayonara performance on Glasstire's weekly Top Five video.
Maker has transformed grayDUCK from a serene, open space to a maze of disjointed fractions. The exhibition rolls 30 pieces deep, which is a high number given the scale of the works.
While the artwork certainly benefited from its handsome setting and thoughtful installation, many pieces also stood easily on their own.
Evett had his first solo exhibition at Laguna Gloria in Austin in 1956. His current show, at Hunt Gallery in San Antonio, runs through April 30.
Preventing awfulness should not be the aim of a public art selection process.
Scenes from the crowd at this year's Art Car Parade in Houston.
In my defense, most overtly political art stinks.
Nina Hartman is the kind of thinker who fits right into the world of Farewell Books, and her aesthetic is easily connected to her experience as a zine maker.
The iconic 1966 image Standard Station by Ed Ruscha sets the compass at Regarding Ruscha at the McNay Art Museum.