Lucia Simek

Developer WDI owns most of the colorfully painted warehouses that line Singleton and its side streets. It's also keen on drawing artists to the area to add to its retail and cultural viability.

For all of its muted simplicity, Glass’ Am I still Ill, isn’t really quiet, just as the bright Safe Room itself, flooded with natural light and painted a pure and clarifying white, isn’t really pristine.

I don't really care about Dallas for Dallas and all of that talk. I want to fully exploit the potential of exoticism that the word Dallas brings to mind to people outside of the state.

Close to thirty dexterous, expertly rendered book pages painted on shimmery linen or transparent silk are a puzzling compendium of little known facts.

Bearden and Homer cleverly spin experience into a something we can all sing—Cyclops, Circe and Nausicaa are recounted in colorful and expressive collages, which take cues from Matisse’s cut-outs and blend them with African tropes.

Season is dedicated to the act of fishing and its trappings—in the center of the gallery, the hacked-off bow of a sailboat lies atop a white table like the carcass of an enormous fish that’s been laid there for cleaning.

I’m late on this—the show I am about to review closed last weekend. It has likely been packed up and moved, making space for the next thing. Art shows are…

I have a longstanding daydream that my house will burn down. I’d pull in the driveway one day to a pile of smoldering cinders that had once been my home,…

In a few days I get up on a stage at the DMA with two other artists to talk about the state of the arts in Dallas; in other words, Dallas’ “scene.”…

In October, the Nasher Sculpture Center installed a meandering serpentine sculpture by the Irish-born, London-based artist Eva Rothschild for its current Sightings exhibition, a series which focuses on the work…

So it’s a mad-crazy art weekend here in Dallas, let me tell you, if the droves of sleek black cars and idle chauffeurs loitering outside art institutions, hotels and private homes didn’t give…

Allison V. Smith, Godbolt, March 2007 Marfa Contemporary, a brand-new West Texas outpost of the Oklahoma City-based City Arts Center, which bills itself as “a nonprofit organization dedicated to encouraging creative…

Despite all that’s wrong in this society it’s the responsibility of the new artists to occur. The explanation that the times and the society are bad is pointless. Probably they’ve…

Before I entered the gallery to see Erick Swenson’s Sightings at the Nasher, a guard politely stopped me at the door and warned me that there was work in the…

I had 24 hours in NY last month and spent most of it going in and out of the enormous, heavy glass doors of Chelsea galleries (and the confusingly center-hinged…

This past weekend CADD hosted another effort to get people into galleries, called Design District Gallery Day. I did not, I’ll admit, spend the day participating in Gallery Day, though…

5000 Feet is the Best, on view at the Dallas Museum of Art, is a film based on two conversations that artist Omer Fast conducted in the fall of 2010…

In a little carved out space of the Hoffman Galleries at the DMA, there are three pieces by Japanese artist Nobuo Sekine, founder of the Mono-ha Movement (mono-ha translates to “school of things”)…

  Amos Vogel, founder of Cinema 16, courtesy Northwest Chicago Film Society I’m not sure when the guys that run the Texas Theater sleep, they keep that theater so freaking…

I’d seen Bret Slater’s work before, in his studio, just prior to all of it getting zipped into a big duffle bag and schlepped across the Atlantic for Art Brussels by…