Lauren Moya Ford

Lauren Moya Ford reviews the exhibition "A Commitment to What is Before You," on view at Northern-Southern in Austin.

The exhibition is a luminous, timely exploration of how both artists find the sublime in the close observation of nature.

The pieces on display illuminate Europeans’ elaborate, often amusing responses to botanicals, and their desire to possess and preserve plants across time and space.

“It’s a century where artists think very deeply about what drawing is as a concept, but also about materials and how to use them.”

Reiland's pictures of women are not so much documentary portraits as gestures of a sort of imaginative empathy, where historical facts and artistic interpretations collide.

Piwonka takes on the misunderstood world of maleness from a refreshingly unexpected angle.

Welcome to "In Residence," a new interview series that introduces readers to artists who come to Texas from other parts of the country — and other parts of the world — to participate in artist residency programs. 

“The show gave me the opportunity to look backwards and look forwards at the same time, and to think about the resonance of images, actions, and words then and now.” 

After the Mexican Revolution, the country’s daring female artists forged a new picture modeled after themselves and who they wanted to be.

The outlines of teeth and lips are faintly visible across the works, but Jones’s paintings remain tantalizingly amorphous, and hover between abstraction and figuration.

Davidoff's sincere concern for nature is matched by the pleasure of capturing it in her artworks.

Webb’s work gives us a glimpse of what these lands look like to someone who comes from so far away.

Even though the works in Peña’s current exhibition were all made in 2019, they feel sharply prophetic of our grim, lockdown days.

"I wouldn’t be able to make the work I’m making if I hadn’t left my hometown. I wouldn’t be able to see it and understand it without the perspectives I now have."

Here Lauren Moya Ford is in conversation with curator and artist Jesus Treviño and artists Cande Aguilar, Jessie Burciaga, and Samantha Isabel García about how a current show at UT Austin speaks to the Borderlands and its soulful hidden currents.

It’s thrilling to see artworks up close and unframed, and viewers seem to slow down in the pop-ups’ intimate, informal atmosphere.

I’d guess that not many Texans have seen a live Kabuki theater performance, but for the next few weeks at Houston’s Asia Society, you can get pretty darn close.

From Tokyo, Nikko, Kanazawa, Kyoto, Nara, Koyasan, Kawazu, and back to Tokyo again, the thoughts and stories played in my mind as I’d draw.

Thomas shows you something that, if it touches your own experience, grabs you so tightly that your memories come tumbling out.

The artist has learned the rules, and now he can break them.