Review

Embarking as a motivated flaneur is the point.

“The show gave me the opportunity to look backwards and look forwards at the same time, and to think about the resonance of images, actions, and words then and now.” 

Clemons’ photographs have a hardscrabble grace about them, with a rawboned edge that is sweetened with Main Street exoticism.

Perez’s work draws from the borderlands tradition of hand-painted signage on businesses, known as rótulismo. 

Brackens participates in this cultural moment by “having bodies in repose or resting — doing anything but dying."

After the Mexican Revolution, the country’s daring female artists forged a new picture modeled after themselves and who they wanted to be.

When we find ourselves craving connection, we can find it though critical engagement with something wonderful someone has made for us.

Dan Hicks offers a passionate, unflinching critique of how the continued presence of the Benin Bronzes in British museums and national collections perpetuates the colonial violence that “acquired” them in the first place.

Holsonback’s work often pushes us to find the context for ourselves.

In this solo exhibition, Ruben Nieto mashes high art and low.

Glasstire staff and contributors share which Texas-based shows, events, and works made their personal “best” lists for this incredibly weird and worrisome year.

The exhibition calls up centuries' worth of folklore deeming noontime the most foreboding hour of the day.

The outlines of teeth and lips are faintly visible across the works, but Jones’s paintings remain tantalizingly amorphous, and hover between abstraction and figuration.

If you're in DFW, I'd consider this a must-see event.

The exhibition is comprised of two parallel bodies of work: Joseph’s well-known works on paper, and his newer exploration of sculptural wall reliefs.

The live-streamed performance conveyed a rawness that not only reflects the artist's personal experiences, but the kind of year this has been.

Sanders' new book walks readers through how print is created, and how every historically new technique depends on its precedents.

Davidoff's sincere concern for nature is matched by the pleasure of capturing it in her artworks.

The most powerful thing about the show is not its aesthetic or technical prowess — but rather its ability to offer a temporary calm in our chaotic moment.

Featuring work by William Leavitt, Ari Marcopoulos, Stefan Rinck, Mungo Thomson and Blair Thurman.