Review

Parker's show is a wealth of deeply considered ideas about communication, vulnerability, violence, power, and authority.

My friend summed it up succinctly by stating: “There’s no Vegas here.” 

A massive group show in two San Antonio venues, curator Risa Puleo assembles a dazzling array of artists living or having histories in the corridor of the Monarch’s path.

'Selected Writings by Dick Higgins' ain’t everything that Dick wrote, but it’s the cream of the crop. If you’re looking for a crash course on 1960’s experimental art straight from the horse’s mouth, this would be a heck of a start.

"What does it mean that these images of small-town America are often read specifically as the South?"

Feulmer's work here brings together the cultural impact of 'Star Wars,' the earliest forms of writing in history, and the role of museums in defining value systems.

Here lies a narrative of loss, identity, resilience, and vulnerability, that many will find relatable to their own personal stories.

The show delivers up a mystical sensibility cloaked in the guise of the ordinary.

"...if the museum is the repository for all society values, how is the prison the repository for all society seeks to disown?”

With such a relatively small selection of works comes the expectation that the show would be exceptionally tight — and it isn’t.

Featuring some 150 artworks and artifacts, the exhibition also includes Ruscha paintings, drawings, and photographs that were produced as material for the books or were later instigated by and/or retooled from book project contents. 

The sculptures themselves are described not as installations, but as three-dimensional paintings, or in some cases, “situations.”

A visitor’s experience at Inner Space should not be one of passive absorption, but one of response and critical dialogue.

There are sections of paintings that wobble in double vision, figures fading in and out of scenes, and impossible combinations of each.

Photographer Luther Smith bids farewell to 35 years of teaching in a finely-honed “mini-retrospective” of his work at TCU’s Moudy Gallery in Fort Worth

These works document the time and motion that’s passed between body and material, like a private performance or a choreography in thread. 

Heath's photographs are a vivid reminder of how the most memorable art of our time conveys a universal message about human existence

Dierks is interested in the fraught state of the human condition in a time of mass consumerism, technological mediation, and industrial production.

Laarman uses his technology as a true collaborator — a dancing partner, if you will — for his dreams. 

The works are melancholic and incisive, charged with a wisdom of the world and its cruel machinations.