Review

Whether bursting with visual stimuli or more sparse and lonesome, these works speak to lonesomeness, self-discovery, attitudes about sex, and the kitchen-sink drama of everyday life.

Tomlinson’s silkscreen prints of people detained at the southern US-Mexican border is the subject of the first exhibition of his work since the veteran Fort Worth artist’s death last September.

As heir to multiple sculptural and cultural histories, Bhabha operates as a great synthesizer, yet her works never feel derivative of her forebears; they seem to glower with their own aesthetic logic and enigmatic meaning.

A single pickup truck periodically drove by the gallery at a crawl, with its windows rolled down, playing music at a volume that was surely deafening for the driver.

It is wild to see an entire show of completed Rembrandt etchings and studies in the middle of nowhere.

As a panorama moving through the decades, the images present a rolling chronology of style and pastime that brings our collective memory into the glimmering yet gawky end of the previous century.

Glasstire staff and contributors share which Texas-based shows, events, and works made their personal 'Best' list for 2018.

The works and artists included in this exhibition create a compelling thesis on the specific art historical influences, cultural confluences, and aesthetics of this west Texas city.

When is art profoundly true and when is it functioning as a propaganda device? And is there a hierarchy in art to which we should acquiesce?

This is the third post in a series of zine roundups where I pull some zines from my library — some old, some new, some from Texas and some from abroad — and give you the lowdown on who created them and what they’re about.

One of the reasons to get lost in his photographs is because of their luxuriously reflective qualities.

The collective M12's publications are profound and expansive meditations on various interconnections of rural American life.

Leissner shot some 3,500 rolls of film of '80s Austin, artfully documenting the city’s tribal beat, performing arts, and body politic.

I think Arp’s works are intimidatingly simple. They look so much like Modern Art, generally, that a viewer may take them almost as cliché, and not stop to consider what's going on within the works. But just by looking, it is possible to understand what Arp is trying to get across.

Here Hewitt asserts an oft-overlooked concurrence: the civil rights era and minimalism.

Simmons’ work spans decades now, and reverberates with the politics of feminism and Simmons’ poignant and focused scrutiny of gender roles — both from intentional observations, and as a result of politics catching up to her photographs.

This show serves as a reminder that the ancient and eternal axis mundi can become available anywhere we choose to excavate it.

The works in the exhibition swing like a pendulum between internal perceptions and the acknowledgment of external ones. 

Parker's show is a wealth of deeply considered ideas about communication, vulnerability, violence, power, and authority.

My friend summed it up succinctly by stating: “There’s no Vegas here.”