The Media Center at Rice University has shown thousands of movies to generations. On June 4, it screened its last movie ever. I was there.
Essay
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At this strange moment in history, Hills Snyder asks members of our creative community: What is at the top of your mind? What is in the bottom of your heart?
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"That is how I am an artist: it is teamwork and surrounding myself with artists and friends who support me." -Karla Garcia
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Our memories of movies are inevitably tangled up in whatever else was going on in our lives when we saw them.
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I am looking forward to a future where the stories that were lost will be exhumed and honored by all.
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Neither the pandemic nor the other rattling events of 2020-21 slowed these students down or compromised the rigor of their work. It may be just the opposite, actually.
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In reviewing the pictures, now, I question the amount of chaotic energy my memory has ascribed to the cat.
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It is not art, but I suspect it may be beautiful.
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A giant polymer concrete cabbage cannot tell you what it means; it can only be what it is.
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I have assets: I collect snowman art.
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Texas produced a lot of art in 2020, and Glasstire kept covering it.
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They rise round and smooth from fields of concrete as if gently nudged upward by a giant underground fingertip.
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This article is the second in an annual exploration of Catrina-related phenomena in art and popular culture written for Glasstire.
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Tooling down South Flores Street from one thrift store to another in April 2014, I passed what has become one of my favorite works of art in San Antonio.
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We assess what traditions and assumptions have been handed down, and decide if we want to carry them forward.
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I agonize over an essay I wrote in back in April. Little did I know that two months to the day, I would be released from a six-day stay at a mental rehabilitation facility (to put it nicely) — a psych ward.
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Essay
Oil Begets Oil: Wrightsman Gifts to the Metropolitan Museum of Art’s Department of European Paintings
Texas oil money has never procured a collection of oil-on-canvas works nearly as magnificent as that of Charles and Jayne Wrightsman, who were the preeminent patrons of the Metropolitan Museum of Art during the last half-century.
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I’d noticed the building’s subtle architectural flourishes and its sense of faded grandeur. Only later did I learn of its historical significance.
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Paula Newton lived. Not just existed, but Lived.
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El siguiente texto es la tercera parte de tres crónicas de arte y viaje escritas por la autora y curadora, Leslie Moody Castro.