Op Ed

Glasstire founder Rainey Knudson's final article as publisher.

Artists who enter into so-called art with the idea that they are starting a business — a transaction of something for money — are almost never making art.

These days, what is the provocateur to do?

Nobody, seeing an abstract painting today — no matter how good it is — is going to recoil and say, “Oh my god, what is that?? That’s not art!”

The Alamo is commonly referred to as the “cradle of Texas liberty,” a phrase that erases and disregards the experiences of people of color. This op-ed examines Alamo symbolism and Texas independence from the perspective of people of color. 

Este op-ed examina el simbolismo de El Álamo y la independencia de Texas desde la perspectiva de las personas de color.

Marfa is facing a David-and-Goliath battle of unprecedented importance to the entire Big Bend.

The information we receive through images is coming at us with unprecedented velocity. Details are lost, and reactions are often instant: Threat or No Threat?

I think I’m failing Christie Blizard. 

If sharing these stories in another language can somehow build bridges among human beings, then we must do so.

We must take pleasure in art, however frivolous that may seem. Otherwise, what's the point?

Why does a world-class art city (not to mention the most diverse city in America) put up with such shitty and saccharine public art?

If one turns a corner in the upper gallery, a sunny narrative breaks open and dispels any and all disquietude.

Ceramic in particular as art is still on an upswing, as a subcategory of clay as art. But the bottom line is anything can be an art material in the hands of an artist. Mayonnaise. Paper. Chalk. Ceramic is a clay process. It's what you do with it that makes it break toward either "art" or "craft."

Clever artists who had some ironic or absurd fun with Instagram in the beginning are tired of producing its content for it. Good.

We’re less corporeal than ever, and there’s art to prove it.

A Christmas comic by Texas artist John Forse.

Facebook’s disabling of my account in November has led me to examine the history of Facebook’s censorship of art as reported in the press, which I share here in chronological order. 

It’s us, the visitors, who need a wake-up call to make us slow down and look at what (or who) is right in front of us.

"It seems like every museum is Meow-Wolfing."