Cox’s work is subversive because he uses the same iconography that perpetuates the myth of Manifest Destiny to expose it as a farce.
Review
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Even in this iteration of the fair, which included fewer galleries than in recent years, the event felt full, lively, and (as art fairs often are) just the slightest bit overwhelming.
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Review
Myth and Legend: Dawolu Jabari at the Galveston Artist Residency
by Robert Boydby Robert BoydIn this show, Jabari imagines that various persons from African-American history have become mythologized and associated with constellations.
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Review
Apocalypses, Heaven and Hell: Folk Art from the Collection of the Art Museum of Southeast Texas
In this exhibition, AMSET collapses sub-categories of folk art to establish a dialogue between Mexican and American artists who create outside of the formal art world.
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Review
Gulf Coast Lore: Julie Speed at the Dishman Art Museum, Beaumont
by Sarah Ridleyby Sarah RidleyInstead of surreal visual puns or absurd humor, Speed dares the viewer to begin finding their own parareal story.
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William Sarradet on exhibitions on view at the South Dallas Cultural Center, the Dallas Museum of Art, Terrain Dallas, The MAC, and PRP.
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The prototypes for our rangy, tougher-than-leather symbols of American independence were Mexican. Without vaqueros crossing the Rio Grande, there would have been no "Lonesome Dove."
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“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."
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Angela Faz’s multimedia exhibition, "The Grammar of Animacy," focuses on the personification of the Arkikosa (also known as the Trinity River).
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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.
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Review
Sustainable Reuse: Robert Jackson Harrington at St. Edward’s University Fine Arts Gallery, Austin
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.
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Merrill weaves a kind of magic within her art to foster our curiosity about the banal.
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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.
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Review
Mining our Digital Past: “Image Objects: An Archaeology of Computer Graphics” by Jacob Gaboury
by Lydia Pyneby Lydia PyneThe interplay between digital and analog spaces makes the history of computer graphics a unique blend of twentieth-century engineering and art.
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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,…
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Two Emily Peacock exhibitions in Houston use humor to mediate materials, mental health, and motherhood.
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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…
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Review
EVERYTHING IS GETTING OBSCENE EXCEPT OBSCENITY: Ken Havis at Webb Gallery
by Betsy Lewisby Betsy LewisThe 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.
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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.
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Cannings' work continues to get at the relationship between violent culture and childhood.