Essay

Jessica Fuentes discusses the significance of the newly opened Molina Family Latino Gallery at the Smithsonian National Museum of American History.

Lauren Bock looks at Teresita Fernández's lobby installation, "Stacked Waters," at the Blanton Museum of Art.

Caitlin Duerler Chávez visits three art exhibitions at the University of Houston Clear-Lake, and also writes about the school's public art.

Colette Copeland writes about the exhibition "This is Ukraine: Defending Freedom," which is currently on view in conjunction with the Venice Biennale.

Husna Krueng, an 8th grade student at Tanglewood Middle School, writes about Juame Plensa's "Tolerance" sculpture in Houston.

Artistic and religious spaces are both deeply rooted in culture, and as religious beliefs and opinions become more and more entrenched, maybe art is one place where we can come together to reveal our common humanity.

Colette Copeland compiles a list of artworks from the Venice Biennial she would like to see in her local Texas museum.

The battle for who gets to claim the cultural capital of our cities is eternal, and it wages on in every zone of the city where something cool is starting to catch on.

Caitlin Duerler Chavez writes about her recent visit to the Marfa Invitational Art Fair in Marfa, Texas.

In this essay, which won the 2022 Central Texas Glasstire Art Writing Prize, Allison Marino writes about 16th century maps included in the "Relaciónes geográphicas."

Hace unos años me encontré en uno de esos momentos sorprendentemente placenteros que me unió a un artista y género de arte a los que jamás les había dedicado ni un solo pensamiento.

Jessica Fuentes reflects on a recent trip to Nice, France and an ongoing collaboration between students and professors from the University of Texas at Dallas and the Lazaret Cave.

The artists and poet involved in the show — all hailing from throughout the Rio Grande Valley — promote sustainable practices, either conceptually or in their materials and processes.

While visiting the work of Guido Caprotti in Spain, I was struck by how the Italian painter’s professional trajectory mirrored that of the Taos Society of Artists in New Mexico.

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

Like Marfa, Cuenca’s status as an international art mecca was seeded by a singular artistic personality and vision — in fact, Cuenca predates Marfa in this regard.

Hills Snyder on time spent during the pandemic, loss, and the cycles of life.

Michelle Kraft reflects upon her time leading a study abroad program in Avila, Spain with students from the Texas Panhandle.

Ruben Cordova on artist Luis Jiménez's iconic sculpture, "Man on Fire."

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.