Review

Both of these shows speak to the slippery and amorphous nature of systems, how they replicate and cannibalize their opposition.

Disparte adopts the grid as an artistic convention while simultaneously disavowing it.

In taking up the ancient problem of representing the vitality of time in an unchanging medium, with three distinct solutions, these three artists seem to be voting for hope, for a life of meaning beyond the current atmosphere of death spiral. 

These young artists are driven by the realities of a broken social contract, and they work for a better way to find social and political understanding through creative navigation.

All three current Artpace resident exhibitions in San Antonio address freedom and constriction of the individual, nature, and culture.

“I’ve been thinking a lot about these forms as hauntings, and the idea of a haunting as something that exists between time.” 

Favela's show at HCCC sifts through the complications, appropriations, and mutations of what is most Texans' favorite food group. 

The show is a stunning collection of greatest hits from Texas art history, supplemented with wild cards that surprise, challenge, and delight.

Shows by Emmanuel De Sousa, Jesus Treviño, Alán Serna, and the Wheeler Brothers wrap up this long Texas summer.

The current solo show by Adrian Armstrong at Co-Lab Projects in Austin directly addresses mental health issues often overlooked in African American culture.

The motivations for artistic self-representation range from mere convenience to profound exploration.

How new is this 'New West?' Museumgoers will realize that Western art is not uniformly relegated to relic status, and that vast horizons of the genre continue to evolve.

The experience of the performers on screen and viewers in the museum seems to dovetail.

Ledvina's works, described by the artist as his closest friends and worst kind of therapist, are enthralling. 

Speeding Motorcycle is a testament to Johnston’s singular, off-kilter genius, and also to the Catastrophic Theatre’s ability to refract a story of unrequited love into a radiant, immersive spectrum of sights and sounds. 

Maybe it’s a coincidence, and surely there is lots of environmentally minded work out there at the moment, but this trend could also represent an emergent point of view for the Lubbock art space.

Horn’s works argue an essential point: the pursuit of truth through knowledge is a quixotic endeavor.

What is a Whitney Biennial without a little controversy? Perhaps it’s a modest curatorial achievement that deserves great praise.

The exhibition asks us to consider queerness not so much as a static definition, but instead through the lens of a dynamic, ever-evolving narrative.

Given the almost aggressive blandness of so much of the artist’s subject matter coupled with the relatively generic facture of the paintings, we might find ourselves a bit hard-pressed to know exactly what to make of this show or why the museum has chosen to anoint Wood with its institutional imprimatur.