"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."
Colette Copeland
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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.
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Harry Geffort’s current show 'First Light' is a tour de force of technical mastery.
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A photo essay of a special public art installation for this Veterans Day.
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A major challenge for participating Aurora artists was that the work had to be immediately accessible to the public within a few seconds.
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Baker and Hillock are omniscient surveyors of sorts: trolling, culling and recovering pieces of cultural memory.
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As a somewhat naïve American, I was operating under some false assumptions.
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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.
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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.
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Don’t let the formality of the titles fool you. The films are filled with dark humor and the messiness of everyday lives.
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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.
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For its 27th year, the festival spanned two complete weeks held in five different venues throughout Dallas, and this strategy (as opposed to all the screenings in one venue) evidently draws upon different audiences and boosts overall attendance.
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What makes Art 21 so successful is how it demystifies the conundrum of what we refer to as contemporary art.
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While I am a huge fan of performance art, there were some issues here
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Imagine if ABC's cheesy After School Specials featured Sesame Street characters whacked out on crack with a dose of Ryan Trecartin’s depravity. That's Elissa Stafford's House Party.
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Are women’s films still not receiving the same amount of attention as men’s?
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The 26th Dallas Videofest is an opportunity to see the depth and breadth of what is happening globally in video art.
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The Art Foundation's (artists Ryder Richards, Lucia Simek and Andrew Douglas Underwood) installation for the Texas Biennial is inspired by Jonathan Lethem’s novel Chronic City.
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The sound of the conté crayon marking the wall is both soothing and grating. I sit on the concrete floor thinking that, as the viewer, I too should experience some discomfort.
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What’s more fake than the art world? Pro-wrestling.