Blog

I’m not moving to Austin, but I will definitely be back.

I want to keep them excited about art! I look forward to helping them develop their skills and opening them up to new possibilities.

"Houston party scene, 2015... you guys are fucking up his tuxedo!"

Autumn Knight encouraged us to literally “break the ice” using heavy sledgehammers and big bags of cubed ice.

"Really interesting institutional critique - just the fact that he is destroying the gallery."

This only barely involves art, but hey: it’s the summer.

Houston is pregnant with possibilities. Why aren’t our universities capitalizing on them?

"I think some people are concerned about Diverseworks becoming too much of an institution and I don’t want that to happen."

"Just keep pushing the boundaries of the discipline of art."

Christina and Rainey are relieved it's not all about luxury goods this week.

"Well, I decided to have really nice cars rather than children."

The MFAH's landmark exhibition assembles conceptual Japanese photo-based art from the late-60s and 70s previously unseen in this country.

Together, SOFA Gallery, Ruggiero, Wick, and this exhibition embody the hope and the drawbacks of contemporary art in Austin.

Photocollages in the ancient tradition. I wouldn't have believed there was another rabbit to be pulled out of that old hat!

I’m 80% sure that Dallas is still not an art destination and doesn’t deserve the frequency with which it appears in the travel sections of other cities’ magazines and newspapers.

John Atlas' retrospective at Houston's Art Car Museum closed on March 28, but, with luck and maybe persistent nagging, we will be able to check in on him again in less than 26 years.

At that moment, I understood through an experience what I’ve known intellectually for a long time; the greatest strength of American capitalism lies in its ability to steal and neutralize the authentic, local culture and art of the enslaved, the poor, and the dissatisfied.

The painting range from loose and funky, almost alien-looking collages of lawns and hedges to photorealistic snapshots that capture a particular sunny California day.

The back and forth emails and exchange of files of information over 4,000 miles of separation forced a creative constraint that was serendipitous for both artists.

Cunningham-Little began her career working in a traditional craft medium, but veered far afield. Her sculptures from the early 1990s are literally glass houses, each a container for metaphoric imagery about domestic violence.