Review

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.

It is simply amazing how “something” takes up residence in “nothing” if one is able to surrender to it.

In showing the world the Ella Watsons and the Red Jacksons whose lives are lived invisibly, and in images that normalize the beauty, intellect, and heroism of his subjects, Parks' 'New Tide' washes ashore some of the things our history tries to keep buried at sea.

There should be a certain degree of murkiness from which an artist thinks and makes.

Both of these shows speak to the slippery and amorphous nature of systems, how they replicate and cannibalize their opposition.

Disparte adopts the grid as an artistic convention while simultaneously disavowing it.

In taking up the ancient problem of representing the vitality of time in an unchanging medium, with three distinct solutions, these three artists seem to be voting for hope, for a life of meaning beyond the current atmosphere of death spiral. 

These young artists are driven by the realities of a broken social contract, and they work for a better way to find social and political understanding through creative navigation.