Michael Corris

Michael Corris reviews an exhibition that bears witness to the trauma of our contemporary moment.

The show is stunningly beautiful one-quarter scale reconstruction of all the works in a legendary and elusive Dwan Gallery exhibition.

Over the past several years, Górowska has set about to remake some of Francesca Woodman’s weirdest atmospheric images as short performances documented on video.

High modernist art theoretical demagoguery turned on its head, nicely set out in paint, canvas, and wood.

The gravity and grandeur that one expects from the "classical" in art can't be introduced into the contemporary without its debilitating sidekick, bathos. We all know that. But where does this leave the artist?

Daou just manages to steer clear of the saccharine, a quality that stalks elegance in general.

For most—if not all—the artists here, the difficult task was to come to terms with an event of world-historical proportions that occurred while they were infants or prior to their birth.

The current show at the MFAH's Glassell School isn't all Political Economy 101.

The Socialized Contemporary Artists Bureau (S.C.A.B.) sounds a bit bureaucratic, but this is part of the ironic mirror play and table turning that undergirds this group of artists. By 2012,…