Review

I was glad to be reminded that for many artists, art is still about something other than money or politics.

Even by late Saturday afternoon dealers did not have that thousand-yard stare of bad-fair trauma.

This is the first 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 made them and what they’re about.

Krause and Winker pass this one to you, constructing a show viewers are invited to project their beliefs into. “Feel free to process,” Krause reckons.

Peter Hiatt seems to have discovered something rare: an unexplored landscape photography subgenre.

The show, featuring a Texas, an American, and a New Zealand artist is strikingly resonant and cohesive, and steeped in community and demarcation.

As the show’s title suggests, the curatorial impetus of the show is a renewed and revised consideration of the landscape, and an assertion of a female presence in that landscape.

Despite the visual consistency of this show and production, the ideas and tone are wildly inconsistent.

Why would I have ever underestimated the God of Rigor?

Navigating a historical exhibition like 'Adiós Utopia' can be difficult. The MFAH does a nice job of providing a broad outline, but it's best to find a personal position from which to steer your experience.

Harvey is mining the history of gay culture to reveal binaries within which celebrate and dehumanize different modes of sexualization.

I realized that for a few days I hadn’t really read the news, hadn’t really felt afraid, hadn’t really felt enraged.

We headed out via I-10 for a weekend of transcendent music, provocative art, and the recurring experience of wondering whether you are actually seeing Father John Misty everywhere or whether there are just 35 dudes around you who all look exactly like Father John Misty.

A still-life theme shapes concurrent exhibitions at two Fort Worth galleries.

Steck’s photography encapsulates all the mortality, vitality, and inevitability of change.

“Seen in a certain way, the history of art and literature is a history of all this love.”

Even though this show opened three days before the election, it’s as if it anticipated the outcome—and it quietly poses questions about how to exist in this new dystopian paradigm.

These sculptures act like still frames in a larger story that stars, finally, all of the people milling about them in the museum.

ExA filled a niche that Houston has a long history of but has recently lacked: a strong presentation of young and subversive performance art.

With International Discoveries VI, FotoFest in Houston draws together thirteen emerging artists, many exhibiting in the U.S. for the first time, who grapple with the conceptual and material particularities of photography.