Emptiness and woe in some of the pictures are invested with a poetic force and certain street scenes emit and reflect light like visionary theater settings.
Last Thursday, three hundred people, Santa, and I gathered in the shadow of the Sabine St. Lofts in Houston, absorbing free beer, many smores, and a little hot chocolate as we waited to begin the Unsilent Night. Tonight, it's Austin's turn.
I'm so mega-successful I don't even blow the foam off my own beer. Nowadays, between late-night massages, morning tennis lessons and afternoons at the yacht club, I barely have timeto be a creative genius. But it wasn't always this way.
West Texas weather is the crazy doorman to Amarillo Ramp, and no one is on the list.
I don’t think what’s going on out there is really art anymore, anyway. It’s showbiz. And most artists aren’t born with a disposition to play that game.
Video: Ex-Texan Paul Slocum answers Glasstire's questions about post-internet art, Spirit Surfers, and his gallery's chapter in Mass Effect: Art and the Internet in the Twenty-First Century.
In the same way that Kentridge’s lines don’t completely disappear as his drawings progress: even though Apartheid is ended, the tension and strife remains, both in memory and in daily life.
Holiday shoppers, rejoice! No need to regret skipping Cyber Monday or fighting huge malls when there are tons of fairs and markets offering handmade items […]
Can we call Texas’ smattering of outward-looking, wealth-built institutions in semi-rural and rural places “regional,” and if not, what should we call them?
While the exhibition looks unassuming, its intent is oddly ambitious: to make a case that for the sake of some kinds of meaningful communication, the post office and its mail system should be saved.
Amid the blizzard of anti-HAA ink coming in from all quarters of the Houston art scene, Glasstire today received a collective letter from artists involved in T+R.
On November 20, tensions between the powerful committee and the staff of HAA's Civic Arts + Design program erupted into an open break.
To make political work without literally telling the viewer how he should think or feel is a tall order, yet Roberts pulls it off with empathy that is as ferocious as it is vulnerable.
Dornith Doherty: Oasis and Celia Eberle: In the Garden of Ozymandias at the Art Museum of Southeast Texas
If anything, the populations of most Texas cities, and along with it the populations of artists, are increasing, but the number of more traditional galleries with traditional business models feels stagnant.
A five-member selection panel chose Wilson for the plum job at the end of October. Last Thursday, HAA took it back.
For your casual weekend perusal, if you wish, here is a set of quick responses I had to some (though not all) of the shows I saw in London last week.
Chitchat on E.A.S.T., Houton Artcrawls then and now, One-painting shows, Marclay's Clock, and Peter Ligon vs Fairfield Porter.
The wall text welcoming viewers to the exhibit begins with a quote from Testino where he states, “…when a country loses the connection between its history and its traditional dress, something truly precious is lost."
During my years at SAMA, I marveled so many times as I witnessed Latino high school students with eyes glued to Alvarez's work. For many of them, it is their story too.