Neil Fauerso

Neil Fauerso reviews a hypnotic performance at Ranch Apocalypse in South Austin.

Neil Fauerso reviews the exhibition "Upward Mobility" by the de la Torre brothers, on view at the McNay Art Museum in San Antonio.

Neil Fauerso reviews a solo exhibition of paintings and ceramics by artist Jim Shrosbree, on view at Spellerberg Projects in Lockhart, Texas.

There is an absolute serenity, but things are happening.

The exhibition provides space for several artists to not simply tell their stories, but to spin a whole intricate and lush world. 

What separates a great movie from a great TV series? Anything? I believe something does.

The documentary is unapologetic about its mission of decolonization, and presents one of the most clear-eyed articulations of the concept I've encountered.

La frase “arte popular” es una pequeña pero importante redefinición de la amplia y nebulosa categoría “arte folclórico.”

There’s an eerie serendipity to visiting these shows during this ever-unfurling new reality.

In Hannibal, the terrible Ridley Scott-directed sequel to The Silence of the Lambs, Gary Oldman plays an antagonist named Mason Verger. Verger is a wealthy pedophile who was once a…

An exhortation to the world of immersive art: please take me to hell. After all, we already live there. 

The project is the navigation of the perilous and labyrinthine archives of one’s identity and history.

The phrase “Popular Art” is a small but important redefinition of the broad and nebulous category of folk art.

We are now in the phase of Grandpa Lynch.

One of the pleasures of the show is that you don’t have to be knowledgeable or really even have any interest in Theatre Arts or Robert Tobin’s life or collection.

I don’t know what’s going to happen. It’s a new feeling — fear with some glimmer of the unknown, actual change like light diffusing off the bend of a mountain tunnel.

The three shows use the tactility, dimension, and heft of their objects for narrative immersion.

It is fascinating to see the skeleton of such an awe-inspiring work in the form of drafts, notes, and marginalia. 

While we think we are the hero of our own movie, we're actually merely one villain of many in a rogue’s gallery that just drifts on and on, like a steadicam tracking shot.

Alain Resnais' melancholic, rapturous depiction of a brief encounter between two married people in the scarred city of Hiroshima is a jewel of the French New Wave movement.