Review

The curator dates the beginnings of a focus on the “complex relationship” between contemporary art and anthropology to the early 1990s.

Libertad, Menchelli and Moody Castro not only restructure the roles they play in the making of the show, but they also unfurl the medium, and persistently inhabit the in-between.

The three shows form a remarkably detailed and cogent meditation on power, spaces, and relationships.

The grandeur of the work gives the viewer a God’s-eye view of things — a perspective that feels omniscient and timeless, yet the theatrical components remind us that we are each playing our parts.

One of the revelations of this exhibit is how various visual artistic movements throughout the 20th century are physically manifested and demonstrated through theater and performance. 

I’d guess that not many Texans have seen a live Kabuki theater performance, but for the next few weeks at Houston’s Asia Society, you can get pretty darn close.

Glasstire staff and contributors share which Texas-based shows, events, and works made their personal “best” lists for 2019. 

There is no modern painter I can think of who touches Currin.

Ruskin had called for realism, but for the group’s critics, this was too much realism, or the wrong kind of realism in the wrong place.

Drawing from the Morgan Library & Museum’s stunning collection, Medieval Monsters examines the monstrous through three specific themes: terrors, aliens, and wonders.

“I have this note to myself that says the work should flow like a haircut, like raggedy bangs, you know? Cutting the excess, getting to the central form."

Not that the artists are advocating for erecting more monuments.

Reviews of current shows by Jorge Alegría, Mario Ybarra Jr., and Jennifer Ling Datchuk.

There is no collective healing for these masses. We are, each one, hanging from a wire above the tsunami. And we will fall in. And we will die.

Big Medium rounded up more than 800 artists for this year’s EAST, Austin’s annual art-pocalypse, which stretches out across the city’s storied East Side for two very full weekends.

The Blanton’s exhibition speaks to the contradictions — cultural, geopolitical, historical — of living on the border between the United States and Mexico. 

Lubbock is kind of on a roll right now.

The setting of 'The Uncolonized' precedes us by a few centuries, but the discourse doesn’t seem too distant. 

The work has traveled to Amsterdam, New York, London, and Frankfurt. Now: Lubbock.  

These pieces are beautiful, dynamic sculptures that activate a lingering disquiet that they should… do something.