Review

TTU's Land Arts program retains an independent spirit, ranging out there in the field and on the road, stopping just long enough to show us some of the artworks it has inspired along the way.

By isolating something as simple as a tree and creating multiple perspectives through the lenses, Cartterfield's work evokes the idea of a life lived as if looking out from the window of a train.

Es una frase declarativa que anuncia lo que es nuestro y reclama el espacio de exposición, conteniendo las experiencias vividas y los legados de los dos artistas al igual que el de la curadora.

The show stakes an uncompromising claim on the exhibition space, holding within it the lived and bequeathed histories of both artists and curator.

One can question why alcohol has to be an underpinning of basically all social events, and a recent two-fer show by Amada Miller and Nicholas Frank does just that while creating a fantastic bar at a gallery. 

Van der Auwera teases out awareness of emotional impulses, complicit actors, and hidden observers.

Part of Villalobos' practice involves his highly rigorous, ritualized performances, and on Sunday March 17, he performed at Rigoberto Luna’s family ranch south of San Antonio.

Una parte de la práctica de Villalobos incluye performances altamente rigurosos y ritualizados.

Three Belgians delegating the culture of the United States back to itself: that’s something to chew on.

Huichol artists work without templates. They just go at it, free-hand, like great jazz players improving off the Dorian minor scale.

Huffman’s solo show slides between process and transcendence, like a lever on a mixing board.

If one is hoping to come down from stress of daily existence, two concurrent exhibitions at Artspace111 in Fort Worth could do the trick.

Does the word “background” in Horn’s description of her use of language here as “background noise” really indicate an auxiliary purpose? I don't believe it.

“I’m not a storyteller. I’m an imagemaker. The story is made in the mind of the viewer.”

For No Idea, performers from around the country and the world perform multiple times in different collaborative configurations, giving the festival a freewheeling and communal atmosphere.

Listening to a house singing to itself is, quite simply, a magical experience.

Is it redundant to show works from the same artists and series concurrently in the same zip code, or, in this case, does it expand the conversation about printed paintings?

Anila Quayyum Agha's newest work, on view at Talley Dunn in Dallas, emerges as a small, quiet spectacle that operates with intelligence and sensuous resonance.

There's often pleasure in being reminded of one’s physical existence by art, and each work in the show does that on its own terms.

I think Ruby's impulse is limited to making cool-looking shit, so I’m often mystified by his seemingly unchecked success.