Op Ed

What does it mean for an artist to be simultaneously unnecessary and exploited?

We couldn’t help but respond to Rainey Knudson’s recent op ed about Debtfair because she describes a project that we would not want to participate in. We see a different…

Does the pressure of your debts distract you from your daily work? Has the pressure of your debts ever caused you to consider getting drunk? Do you justify your debts…

There are really two ways an artist can assault an art space, and there are about four common reasons for doing it. Some are better than others.

Seeing an exhibition of Fogel's work in person was like meeting someone I’ve been unfairly kept from for all my years of looking at art.

The terror and joy on a baby’s face when he experiences something for the first time is what artists crave.

A few years ago, I visited some friends in Aspen during the summer. Aspen has acquired a bit of a douchey reputation, which is unfair because a) it’s beautiful, dry…

Generation X has been showing its age for a while now. This manifests, predictably, with a “kids these days” attitude towards Millennials.

Young artists have been born into a cultural graveyard overrun with specters from the field of its past.

The gorilla is perfect for receiving projected emotions and expectations from anyone: comedy, sadness, contemplation, trauma, loneliness, the moment of entering self-consciousness.

It took a few years before Facebook started to become creepy for me.

The online images were haunting enough to get me in my car for the six-hour drive up into the Panhandle to see these paintings in person.

Artists who live along the poisoned waters of the Gulf of Mexico have developed a unique relationship with a landscape that demands the ability to live within the cognitive dissonance between idealism and nihilism.

Nowadays showing one’s real ambition—sincere, grand ambiton—is a terrifying proposition.

The theme for artists to consider when creating incredibly pandering work for the ArtSmarterPrize 2016 is: “What Would You Do For Love?”

These are all, for me, very listenable songs, and perhaps ideal for a car trip or flight on your way to a museum show or art-friendly city, or a wander through a museum or gallery.

In Spheeris’ documentary you can see that the kids are our doomed canaries, as you realize that things are not only no better now, but actually worse.

The rapid loss of a thousand years of collectively acquired manual dexterity causes the drawing student to experience existential panic when he picks up a piece of charred wood and stands before a skeleton and a sheet of paper.

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

Five years ago, seven years ago, some of us were trying to persuade artists in other more expensive places to move to Texas because it was affordable. But I can’t say that to people in good faith anymore.