Michael Odom

A celestial observation is made bodily, morbidly material.

Xiaoze Xie’s show at Talley Dunn Gallery in Dallas explores the assertion that journalism is the first draft of history in a beautifully painted way while it also examines just how rough a draft it is.

It is possible to make good art and remain relaxed while doing it.

For Pomara, experiencing a painting as an imaginary window has been replaced by the experience of looking at a screen: computer, TV, smartphone, or tablet.

The show presents us with models and renderings — evidence of their value — as well as possible, but the case remains open until the work is built.

So what is the value of a good painting? What the market will bear, I suppose, but also the pleasure it offers to the viewer.

It wasn’t ’til Sunday morning that I got the point of the Marfa Dialogues, an extended look at art, culture and climate change over Labor Day weekend. We were trooping…

Richard Patterson is a transplant to Dallas from Great Britain. Twenty years ago, he participated in the famous Freeze show, organized by Damian Hirst at London’s Surrey Docks – an…

FOCUS: Jeff Elrod at the Modern Art Museum of Fort Worth is a small survey of paintings made over the past 15 years. It’s telling for Elrod’s aesthetic project that…

In a move that offers welcome relief from standard American museum practice, there are no didactic labels cluttering the walls of the Olafur Eliasson show at the Dallas Museum of…

Even though the show’s title, Actions, is a clear reference to Joseph Beuys, John Cage came to mind when I visited William Lamson’s exhibit at Marty Walker Gallery. Lamson’s preference…

Robert Wilhite’s current show at Barry Whistler Gallery is comprised of a single sculpture: The Bomb (2008), a true to scale representation of the Fat Man, the plutonium bomb which…