Colette Copeland

Going forward, what if Vignette moved away from the regionalized survey, and curators worked together on a conceptual theme, and artists proposed site-specific projects? We need to go a lot more rogue.

This may have been the rock-star artist panel of the year in Texas.

"What happens in Texas is often more resolved and extreme than elsewhere."

As a non-native Texan based in DFW, this was my first visit to Waco and both the conference and city exceeded my expectations.

"Having a conservative attitude towards taking risks does not yield good results for us."

"We aspire to surprise and at times disorientate—what we want to provoke is a moment of genuine feeling."

In advance of her show, Jeanine Michna-Bales talks to Glasstire about her acclaimed and haunting photographs of the vestiges of the Underground Railroad.

One of my questions before going to see the show was about the relationship between Teresa Margolles’ and Hermann Nitsch’s work, beyond the obvious commonality of blood and performance.

“Camp is the lie that tells the truth.”

Using humor and absurdity as a tactic to engage the audience is one of Richards’ signature strategies. It also serves to balance the theoretical component of his work.

"The trick is to orchestrate a project that is easy enough for people with little art experience to participate in while maintaining the visual integrity of the object."

Three things attract me most to July’s work, and she hit on them in the Dallas lecture: her refusal to reduce her work to a specific medium or genre, her enigmatic and very flawed characters, and the element of interactivity with real people to activate her work.

Harry Geffort’s current show 'First Light' is a tour de force of technical mastery.

A photo essay of a special public art installation for this Veterans Day.

A major challenge for participating Aurora artists was that the work had to be immediately accessible to the public within a few seconds.

Baker and Hillock are omniscient surveyors of sorts: trolling, culling and recovering pieces of cultural memory.

As a somewhat naïve American, I was operating under some false assumptions.

Although the curators say this particular exhibit of the Medianale isn’t theme-driven, I noticed a couple of common threads between videos including a riff on the idea of call-and-response music, and re-interpretations of previous iconic videos/films, which is a take on call and response in itself.

Although the work spans the past ten-plus years of Woods' work, all the political content still resonates. To say that her work is about race, or even race relations, overly simplifies her conceptual rigor.

Don’t let the formality of the titles fool you. The films are filled with dark humor and the messiness of everyday lives.