Charissa N. Terranova

Charissa Terranova reviews the exhibition “Denton Modernism: 1940-1980” at Photographs Do Not Bend Gallery in Dallas.

Media art (now “new media art”), including Anker’s, is evidence that modernism never died, it just plodded along, unnoticed during the Epoch of Irony that was postmodernism.

The work of casualists and provisionalists like Walker is not Jerry Salz's “Neo-Mannerism.” These artists are, if anything, neo-modernist. This crop of new, young work in Dallas is a throwback to Giacometti, Guston, and Rothko.

The latest exhibition at brand 10, Fort Worth’s smart, cozy and newest kunsthalle, On Wheels is equal parts kitsch and high politics. In this show, plain-faced middle-American falderal meets something…

Dan Perfect’s Paintings and Drawings at Road Agent Gallery does not so much revitalize high modernism as cast it in an awfully hip light. The doodles, squiggles and jig-dancing zoography…

A young man in Teresa Hubbard and Alexander Birchler’s docu-video Grand Paris Texas, part of No Room to Answer at the Modern Art Museum of Fort Worth, explains the difference…

The work in Sehnsucht (Aspiration), currently showing at Light & Sie Gallery in Dallas, is at once challenging and accessible; vaguely inscrutable in its occasional abstraction and seemingly easy in…

It was appropriate that George Michael played a live concert at the American Center in Dallas the day after Glasstire’s interview with Tim Noble and Sue Webster.  Post-YBA Brit artists…

  Arthouse in Austin is a layered place. As the Kunsthalle of Texas’s capital city, its projects are varied, from the ballet music installation extravaganza of the forthcoming Cult of…

The artist Rebecca Carter revels in personal hybridity. She is comfortable being queer. (For the sake of identity politics, and to those women out there who might have wanted a…

Brit artist Tracey Emin is a woman’s woman. She cuts a clear path through the bush — the weeds of yesterday’s feminism, the “ism” without which we’d be nowhere.

Airs de Paris, a rangy exhibition on the top floor of the Centre Pompidou, marks the 30-year anniversary of the Marcel Duchamp retrospective that inaugurated the museum in 1977.

Gallery owner, art collector and pop-icon partner (he is George Michael’s lover), Kenny Goss is a Nietzschean Yes-Sayer. Goss says “yes” to tomorrow and “arrivederci” to yesterday. In a recent…

Exploitation of the female body is the shared theme of work by Joy Christiansen and E-J Major recently shown at Photographs Do Not Bend Gallery in Dallas.

Rebecca Holland’s new work at Barry Whistler Gallery is precious and ironic at once. The pastel colors — pink, yellow and chartreuse — of the translucent planks, square sheets, brick-o-blocks…

John Hartley makes photo-realist paintings of rusted old toys from photographs of these prettily worn objects, which the artist collects.

The future is now in Dallas…and elsewhere on the globe. Fast Forward. Two other exhibitions in the last five years have used the same terminology as the current two-part extravaganza…

“Nothing escapes eventual absorption.” — Hans Haacke¹ Hans Haacke called it absorption. Others have described it in terms of recuperation or complicity.² By “it” I mean the way in which…

The events of 9-11 made Americans aware of their alien status in the world. We are foreigners in a world of foreigners and we are strangers to ourselves. In keeping…

Christian Pitt's art fits somewhere between the seventh-grade world of Dawn Wiener in the 1996 film Welcome to the Dollhouse and the parlor life of Nora Helmer in Henrik Ibsen's…