Review

“A lot of people think I’m trying to be clever, [but during lockdown] all I wanted to do was to try and make beautiful things."

Angela Faz’s multimedia exhibition, "The Grammar of Animacy," focuses on the personification of the Arkikosa (also known as the Trinity River).

The work in this show accomplishes what all meaningful art does: it builds a deeper recognition of the pain, the beauty, and the essential value of life.

In this exhibition you're a client of Taller de Harrington; you're grossly forced into a showroom that literally puts on a pedestal the unnecessary things we own.

Merrill weaves a kind of magic within her art to foster our curiosity about the banal.

The culmination of the music, the visuals, and the audience was a poignant and moving experience, one that I will no longer take for granted within the context of the pandemic.

The interplay between digital and analog spaces makes the history of computer graphics a unique blend of twentieth-century engineering and art.

I don’t know the last time I saw the Milky Way. Supposedly, it’s always there above our heads, but you can’t see the stars in Arlington, or Dallas, or Austin,…

Two Emily Peacock exhibitions in Houston use humor to mediate materials, mental health, and motherhood.

Amy Werntz: Ordinary Moments, and Lloyd Brown: The Sky Should Know Me by Now (Recent Paintings of U.S. Highway 50),  at Valley House Gallery & Sculpture Garden, Dallas, August 28–October…

The late Havis credited the military with providing his earliest access to the mysticism of Eastern cultures that’s evident in his art making, as well as the confidence to pursuit art at all.

The big, bulky, striped canvases we know of his from the Modern’s own collection are given some backstory here, starting with Scully’s early attempts to generate space by weaving grids of colored bands, and ticking through five decades of paintings, pastels, prints, drawings and paint sketches. 

Cannings' work continues to get at the relationship between violent culture and childhood.

Her intention as an artist was to inhabit a space outside of the snobbery of the traditional art space.

Revier’s show has the capacity to illustrate Texas’ relationship to the rising tides of change, with the nuance that only an artist could muster.

The exhibition combines ten of Frankenthaler’s prints (and six of her proofs) with several other artists’ works from the 20th and 21st centuries.

In his 1960 essay, Modernist Painting, Clement Greenberg writes, “With Manet and the Impressionists the question ceased to be defined as one of color versus drawing… and became instead a…

For all the dread coursing through this exhibition, there is also hope.

By addressing issues of shame associated with not meeting perceived standards, it is Drescher’s hope that, one day, such questions will become irrelevant.

The show, curated by Diana Molina, consists of work from El Paso art group JUNTOS Art Association.