Review

The sleepy bayou town of Orange is home to perhaps the best Western Art Museum in the country, and the reason I traveled there with my dad to see its current dazzling show.

Tony Fitzpatrick has earned a living as a boxer, bartender, construction worker and actor; his work feels like the visual equivalent of a Tom Waits record.

The seeds of the duo’s collaboration were planted four years ago when Hodge listened to Malone’s 90.1 KPFT radio show and heard the Juneteenth history in a segment about slavery in Texas that Malone created and narrated.

Blackburn picks up the language of mechanized images, and folds it back into the deliberate and mindful practice of painting

There is something jejune in this lack of reality presented in the style of realism.

The film tends to be categorized as Japanese New Wave, though that label—or really, any label—is inadequate. These Austin screenings provide a rare opportunity to walk into a truly unique, funny, dark, wild, and warped world.

One of the best things a super-rich person can do is turn their mansion into a museum when they die.

This mini-retrospective represents a formidable Texas debut for a newly minted local artist. Her labor-intensive process can be seen as a means for calling attention to things too important to be overlooked.

Wagner's work has been referred to as “Art Nouveau on steroids in the 21th century.”

While Serrano’s photos didn’t have the impact I expected, in the end, they forced me to rethink torture overall—by looking at the fake, I had to confront the real.

Anthony Suber lays bare the vibrancy of a black body and the deeply rich, layered and complex history that it harbors.

A lot of artists use building materials to make art, but Terry does a nice job of driving home the fact that he’s turning useful things into message-free useless things.

The MFAH has brought out more bling for the huddled, sweaty, Houston masses yearning to feel something.

Both artists focus our attention on either the built environments that express the aura of unseen inhabitants, or the overlooked areas where nature still thrives but people turn their backs on it.

You can only resist something worthy of resisting.

Aitken's work is uneven, and the Fort Worth show drives that point home. It’s a show I want to like more than I do.

The heroines that populate Choi’s work at CAMH are tough, and joy is hard-won in the Cosmic Womb.

Glasstire's Christina Rees and Brandon Zech talk about Nina Katchadourian's solo show at the Blanton Museum of Art in Austin.

The subtle beauty of change and tradition in the work of these artists has something to teach us about the difference between leaving home and running away.

Garth Weiser’s show at The Contemporary Austin made me angry.