It's as if the gallery was shedding its skin at the command of someone's fairy godmother, but the effect isn't as vivid as it could be.
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BlogGlasstireVideo
Video: How To Get Rid of the Art You Don’t Want Anymore
by Glasstireby GlasstireYou're out of room in your house, your kids don't want it, you know better than to give it to Goodwill, and you're not going to pay for storage. What do you do??
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Nature and culture constantly collide in Walker and Wellen’s Galveston exhibition – much like the terrain of the barrier island itself.
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El Pastor's context is Juárez. His paintings aren't so much about indignation as they are about anguish for his narcotics-destroyed city and serve as means for viewers to share in the pain of that destruction.
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Texas Gallery has had a great string of painting shows recently, the latest treat is a roomful of Christmas puddings from nascent art star Jeremy DePrez.
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Live is mixed with staged to explore rehearsal, mimicry, and self-representation in an immersive, theatrical ambience.
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BlogFeaturetteGlasstireVideo
Video: The Glasstire Talks: Hugh Forrest of SXSW Interactive
by Glasstireby GlasstireGlasstire Founder Rainey Knudson interviews Hugh Forrest, Director of the South by Southwest Interactive Festival.
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Crystals, brain scans, gems, abandoned swimming pools, and Antarctica are just a few things Biggs grapples with at the Blaffer Art Museum.
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Just as Dallas holds up its Arts District as its centralized crowning achievement, the city's unassuming margins are looking increasingly seductive.
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Paul Kremer of Great Art in Ugly Rooms has been working on making his art less virtual. Now, under Mark Flood's tutelage, he's getting his hands dirty: painting, and painting big.
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Together the two shows seem to constitute a kind of zeitgeist. The meaning comes through and the mystery remains intact.
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Energetically charged by the elaborate patterning and the warm glow of light, these scenarios reflect Cobb's view that, while reality is just an illusion, it is always alive and bustling with vitality.
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The show is a colorful whirl of precise graphic drawings, and maybe it’s my deep aversion to trendy shapes and colors, but these works feel too commercial.
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I remember an artist's talk in Junction, sitting in the back, loosening my belt from lunch, and seeing the guy next the me without his shoes on - it was James Surls.
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Shouting at the gate attracted the attention of the artists Heath West and Michael Bhichitkul, who cranked open the portcullis and let me in.
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Two artists collaboate on a two-layer cake of significance, ripe for icing.
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Japan was in full-blown post-nuclear Godzilla mode during these years, and while Motonaga is more subtle than that, these paintings aren’t sweet.
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I asked Robert Earl Keen why he loves the movie. He immediately cited its understatement. “So much is left to the audience’s imagination. It allows one to feel like a participant.”
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BlogGlasstireReview
Public Communication: Performing Knowledge of the Body
by Betsy Hueteby Betsy HueteWhether the work is silent or screaming, it is clear that co-curators Max Fields and Joe Joe Orangias want us to engage with performance from women.
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Through this snapshot of his oeuvre to date, Falsetta’s trajectory feels much like his paintings: a mixture of planned and spontaneous moves.