Who are these people? Where do they come from? What are they hoping to get? Videographer and animator Albert Sosa finds out in his new video series on artworld interns.
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Blogger Transcribes Sheet Music from Tiny Butt in Hieronymus Bosch Painting
by Paula Newtonby Paula NewtonYes, this is LITERALLY the 600-year-old butt song from hell.
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Seek out these strange and wonderful paintings of a fleeting, uneasy world that embodies a darker side of our state identity.
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Hawk was lying, facedown, on the concrete floor in a pool of clear fluid as if he had passed out on the sidewalk in front of a club, or fallen off his skateboard. Barefoot, he was Everyman, from Brooklyn.
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A porthole through which we experience Bontecou’s preoccupation with disaster and instability, on the blade-thin line between attraction and revulsion.
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Peppered with mischief, Sieben's skateboard ramp, clubhouse, and campfire pit explore the brink of childhood, when adolescents begin exploring a bigger, adventurous subculture.
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Media art (now “new media art”), including Anker’s, is evidence that modernism never died, it just plodded along, unnoticed during the Epoch of Irony that was postmodernism.
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I am impatient to feel awe in my home city. Dallas ain’t Rome—the grammatically troubled understatement of all understatements.
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Critic Dave Hickey begins by dissing Glasstire, Texas, Houston, stupid liberals, and Rice University, then goes on to the futility of the NEA and alternative art institutions.
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It’s been a year since Louis Grachos took the helm at The Contemporary, and hired Heather Pesanti as Senior Curator. I sat down with them for a series of conversations on Austin and their vision for the rebranded institution.
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The vaguely acrid smell of burlap lurks in Sicardi Gallery’s sleek rooms. It's a bit of a departure from Sicardi’s usual beautiful-but-cold aesthetic.
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With Amarillo Ramp, Smithson’s final work, we begin to realize the extent of the artist's infatuation with our state. He's begging us to claim him as one of our own.
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A delicate color palette and the combination of natural with unnatural organize the show: from the glazed earthenware pineapple to the pile of palm-frond slices stacked intermittently with cleaning pads.
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These vegetables protest their innocence too strongly: obviously, they're hiding something.
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Today, the famous cave is a traveling exhibition, now at Houston's Museum of Natural Science.
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Houston artist Tony Day believes in freedom. Not bald-eagle-laser-etched-on-your-Ford-truck-‘Murica freedom, but freedom of expression. Day is a Yosemite Sam for the creative process.
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El Ultimo Grito's inquiry into the collapsing of time and space in films led them to create new trailers for movies that ignore narrative to focus solely on objects and spaces.
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Peña embraces the artist’s endemic dissatisfaction: each work is only the latest, less than perfect, attempt.
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Tom Sale shapes a wonderful pastiche about the life of Florence Nightingale to meet his personal, obsessive needs.
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Chris Sauter, like Jesus, invites you to stick your hand in a hole. His inter-related projects examine the false dichotomies between religion and science.