In her current video installation at Sala Diaz in San Antonio, Melissa Longenecker’s consumerist performance is both jarring and cathartic. The Great Wide Flourescence takes its title from the expanse…
Review
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Review
Old Masters, Impressionists, and Moderns: French Masterworks from the State Pushkin Museum, Moscow
Most collection shows chart a succession of iconic masterpieces. Selected by dint of size or reputation, they enforce a sort of cultural Stations of the Cross, with individual acts of…
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Anna Gaskell: half life is best experienced alone no one else in the room, no guards chatting amongst themselves in the hall, nothing to interrupt the mysterious air of…
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In this most recent installment of the ArtPace residency program, curator Francesco Bonami has chosen three emerging artists whose works explore the relation between sensory perception and material reality.
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There’s the “abstract painting” of the art world, and then there’s the “abstract painting” of the American popular imagination. Although critical attention focuses on the former, it’s the latter that…
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H. C. Westermann’s life was a flamboyant bundle of contradictions, and his art is full of his life. “Every drawing I make is a portrait,” he said, and his imagination…
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Review
Satyrs and Martyrs on Hallowed Ground, (or, How Many Babydolls can Mr. Biscuit Nail to a Cross?)
by Alana Keresby Alana KeresWalking through Hallowed Ground, Gallery Lombardi‘s latest group show, is a little like running your radio up the dial as you cruise through a big city. Between static and blips…
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Two contradictory visions inform Roxy Paine/Second Nature.
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The new building for the Modern Art Museum of Fort Worth opened to the public on December 14, 2002. It is 153,000 square feet, on an 11-acre plot located across…
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Around the year 1919, Soviet director and film theoretician Lev Kuleshov began a series of cinematic experiments in which he projected two successive unrelated images, then measured the response of…
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If you’re interested at all in the concurrent HC Westermann exhibitions at the CAM and Menil, you’d do well to visit Jeff Shore’s exhibit space, Site Unseen, while his Moving…
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It’s hard not to like Phoebe Washburn’s behemoth installation at Rice University. But why? Trash-repurposed-as-art, the-ugly-made-beautiful, garbage landscapes and a recycling aesthetic — start describing Washburn’s shows in generalities and…
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The title of Paul Kittelson’s The Next Supper is revealing.
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In The Nation’s celebrated Big Media issue from this past January, there was a sobering fold-out chart depicting the “conglomerate multimedia stables” of Big Ten multinationals like AOL Time Warner,…
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There is resistance to Paul Horn’s art. I know because I resisted it too. I remember skulking around the UH studios a while ago and seeing his plastic cereal bowl…
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The marriage of obsessive craft to rote form in quilts usually sends me screaming from the room. Why then have I been back to see The Quilts of Gee’s Bend…
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The human hand is a curious thing. It’s fringeware design allows us to count up to five, an ability which came in handy when it was time to organize perception…
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More than half of the newly Americanized and/or newly talented artists featured in this year’s Texas Fine Art Association exhibition of New American Talent are over 35 years of age.…
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In spite of the wealth of media artists use today, painting remains the one by which we judge the health of contemporary art. If you don’t believe me, recall for…
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Thomas Struth 1977-2002, currently on view at the Dallas Museum of Art, reveals the photographer’s astute ability to capture the temperament and interconnectedness of his subjects’ documentary elements. His bodies…