William Sarradet

A recap of a performance by the Austin troupe Shaboom!, as part of Fusebox Festival 2022.

"This is the East Austin I remember during younger days of taking road trips to see obscure music in the state’s capital."

William Sarradet writes about five recent exhibitions in San Antonio, Austin, and Dallas.

The decision to comment or not comment on what is happening is now a constant, because the 24 hour news cycle has become global.

Whereas other markets make a distinction between a studio practice (fine art) and craft (skill-based technique), in El Salvador the distinction seemed to instead be closer to fine art production versus fabrication.

In El Salvador, national pride comes with criticism. It is another one of the nation's binaries: the invitation to discuss such personal qualms, coupled with an assumed intimacy for the guest.

FotoFest’s choice to show Leo Ramadinha’s voyeuristic imagery of young people participating in COVID-safe online Zoom raves is surprisingly transgressive.

William Sarradet on recent exhibitions in Dallas, including shows at Conduit Gallery, the Goldmark Cultural Center, Site 131, and more.

Today: Monuments of Progress

William Sarradet talks glassblowing with San Antonio artist Justin Parr.

William Sarradet on the YouTuber Drew Monson, the new Matrix movie, and the animated film "Belle."

Today: Marbles

William Sarradet writes about recent San Antonio art exhibitions, performances, art walks, and more.

How do people cope under circumstances that deny explanation? How does belief operate?

Jennifer Ling Datchuk’s exhibition of sculptures, many of which are from this year, follows the artist’s credo: to explain invisible things.

William Sarradet on "Christmas Carol 2060: Tanline Steamroller," a recent play at the Museum of Human Achievement in Austin.

The broadway production succeeds because it requires so little explanation: cats are just cats.

As the year closes, I've traveled to San Antonio for a second time in 2021. The city seems to be much more online this time around, or perhaps I’ve just spent more time on my feet.

William Sarradet on the work of Trey Burns, Gerald Bell, Heyd Fontenot, Jeremy Biggers, Jeff Gibbons, and Summer Aquino.

Even in this iteration of the fair, which included fewer galleries than in recent years, the event felt full, lively, and (as art fairs often are) just the slightest bit overwhelming.