Ruben C. Cordova

The threads of belief and disbelief are thoroughly interwoven into the fabric of Lisette Chavez’s art.

The works featured in this exhibition range from China and India to present day Nepal, Sri Lanka, Thailand, Cambodia, Korea, and Japan.

Everything and everyone is connected.

Este artículo explora los ideales y objetivos fundacionales de Huntington, los logros—tanto los buenos como los malos—de los dos directores anteriores y los antecedentes de Kientz junto con los objetivos que tiene para su nuevo cargo.

Keep the party, lose the war.

This article looks at Huntington’s founding ideals and objectives; the achievements — both good and bad — of the previous two directors; and Kientz’s background and his goals for the HSM&L.

This article — in celebration of Valentine’s Day — is a chronological sampling of Apollo and Daphne images from different times and places, ranging from antiquity to 20th-century fantasies.

Don’t mess with Cupid.

Por lo tanto, hemos probado tres suculentos platillos de canibalismo como sátira, y creo que los tres son deliciosos.

This article is the second in an annual exploration of Catrina-related phenomena in art and popular culture written for Glasstire.

Cordova's final installment in the series covers works by Reyes that address the struggle for political representation and social services in Texas, reviews the “Southern Strategy” and race, and concludes with Trump and the 2020 election.

Aquí nos echaremos un clavado a una discusión sobre más héroes y villanos.

La Malinche has long fascinated the San Antonio-based artist Cesar Martinez.

The Chicano movement was galvanized by — and it became deeply identified with — the struggles of the United Farm Workers Union.

Es un promiscuo mezclador de culturas y demoledor de las jerarquías artísticas, al igual que un satírico brillante y políticamente cáustico.

Reyes’ 'Instant Genocide' is a critique of racism that encapsulates and embodies Trump's racist rhetoric, though it was painted decades before Trump's words were uttered.

This is one of best exhibitions of Old Masters to tour the U.S. in recent decades, and the Kimbell Museum is one of only two U.S. venues.

Texas oil money has never procured a collection of oil-on-canvas works nearly as magnificent as that of Charles and Jayne Wrightsman, who were the preeminent patrons of the Metropolitan Museum of Art during the last half-century.

These rocks are repositories of eons of natural forces, and are understood as “embodiments of the dynamic transformational processes of nature.”

Ruskin had called for realism, but for the group’s critics, this was too much realism, or the wrong kind of realism in the wrong place.