Richard Bailey

The Age of the Mollusk has ascended and we are all part of its evolution.

Lansden's process is quite at odds with views that equate evolution with entropy.

The sense of inevitability in highway driving that Simek evokes through editing is occasionally cracked open by surprises.

His images are, by turns: beautiful, hallucinogenic, brutal, erotic, and subversively funny.

The work seems to describe the shortfall of the digital world to house or even understand our emotions, and the artist seems to be having fun with this shortfall.

El Pastor's context is Juárez. His paintings aren't so much about indignation as they are about anguish for his narcotics-destroyed city and serve as means for viewers to share in the pain of that destruction.

Sortor becomes a producer of meaning instead of just a passive consumer. Her work here shows the pleasure of improvisation. 

Emptiness and woe in some of the pictures are invested with a poetic force and certain street scenes emit and reflect light like visionary theater settings.

The 1972 Games in Munich will forever be associated with the massacre of eleven Israeli athletes who were kidnapped and murdered by the Palestinian terrorist group Black September.

Vélez's work at Oliver Francis Gallery has a simple aesthetic: angry and loud.

An intelligent and enjoyable look at symbolic thinking and performance art. I encourage you to hurry—the exhibition ends May 3rd.

These filmmakers prefer visual noise to clear pictures. The effect is like traveling across interesting landscape with a dusty windshield.

There is nothing old hat about going to the Bible for source material. Certainly not the way Paul Bryan uses it.

I am impatient to feel awe in my home city. Dallas ain’t Rome—the grammatically troubled understatement of all understatements.

For his new, self-titled show, he examines themes of masculinity, and what he calls "the fetishization of the desirable and identity." The principal image is obvious: Cocks.

John Adelman follows the rules. Precise and odd, they dominate every mark.

Mazurek chose the name for its scientific ring: a simple, categorical name to stand for a thick and diverse file, on view at Richland College.

The Sweetest Taboo takes its name, in part, from the popular song by Sade, in which the singer's orgasm is liberated from some place in her understanding that treated it as an outlaw experience.

Burlesque fans, historians, and practitioners will find much to wax nostalgic about in these vintage pictures, but they only succeed as art when reflected in the intense psychological mirror of the works by Allen and Walton.

Broken machinery is kept around for spare parts. Tires are stacked up like canned vegetables. Shady trees, window a/c units, satellite TV dishes show up like grace notes.