Review

Being in one’s early twenties can feel a lot like the kindergarten of adulthood: it’s a myriad of drunken mishaps, jarring realizations and acceptances of failures, frustrations, and disappointments.

A celestial observation is made bodily, morbidly material.

I’m not seeing a lot of new revolutionary art yet (yet!), but I’m not seeing too much pablum, either.

"American Epics: Thomas Hart Benton and Hollywood" at Fort Worth’s Amon Carter Museum of American Art

The show is actually a sprawling four-parter, and it expands our own outer-space references with its DIY explorations of stepping away from terra firma and venturing into the atmosphere and beyond.

Brown uses prints as a tool to plan out ideas for her other works. You’d think this doesn’t make sense: reduction printing is not a time-efficient process for sketching.

These two exhibitions mirror each other well—one artist's strength is the other's weakness.

We're told that the three artists didn’t see each others’ works until installation, which makes them either insane or incredibly trusting.

It's collaboration in a nutshell: people working together, subtly directed by authority, with dissidents pressured to keep their mouths shut.

"we are the anonymous army. cross us and you will fail."

A friend and I have a theory that all artists, even now, basically split along the Northern and Italian Renaissance divide.

If a discerning art person from out of town walked into the Dallas Contemporary right now, I think they’d be impressed. This hasn't always been the case.

Jones and curator Valerie Cassel Oliver treat the entire survey as a single installation.

When I walked into Celia Eberle's latest show, I felt a familiar rush of being wowed by what she’s made and despairing that it’s not destined for a museum.

Newly restored Wim Wenders films in Austin and Houston.

This is a museum that has kept the torch burning in Beaumont for years, tirelessly supporting Texas artists with solo shows and catalogs.

Harry Geffort’s current show 'First Light' is a tour de force of technical mastery.

In celebration of Glasstire's 15th Anniversary in 2016, we'll be mining our archive of 3000+ features and republishing some old favorites. Here, Bill Davenport on Chris Sauter and Hills Snyder in 2001.

I imagine that as a resident it would be difficult not to make work about Galveston. It’s a swirling black hole of beauty and charm and repulsion.

South Park’s latest long-form satire of America’s contradictions.