Wu-Tang Clan, the Single-Copy Album and Museums
IMAGE: Dario Robleto, At War With the Entropy of Nature / Ghosts Don’t Always Want to Come Back...
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Nixon and the Treachery of Images
IMAGE: René Magritte, La condition humaine (The Human Condition) (detail), 1933. Oil on canvas 100 x 81 x...
Seeing Klimt and “Timeless Modernity” in Islamic Art
If this early 13th-century Persian tile, which we're using as our April cover image, looks strikingly modern to you, you're not the only one.
Ain’t We Fancy? Then and Now
The 21st-century status of Thomas Sully (1783-1872), a Philadelphia painter and leading successor to Gilbert Stuart’s Federal portrait style
$argent and Binge Viewing
IMAGE: John Singer Sargent, Simplon Pass: Reading (detail), c. 1911, opaque and translucent watercolor and wax resist with...
What’s the Matter with Rice? Part 2
IMAGE: A view of James Turrell’s Twilight Epiphany (2012) on the Rice University campus. Photo by Ned Dodington...
What’s the Matter with Rice?
IMAGE: Reconstruction of Vladimir Tatlin’s model for the Monument to the Third International, 1967-68, in the courtyard of...
Braque, Magritte and Brown
Are artists in Houston paying attention to Braque and Magritte, given the abundance of their work currently on view in the city?
MFAH Moving From “Top-Down” to Participatory Pedagogy
Upon learning that the Museum of Fine Arts, Houston has hired Caroline Goeser as W.T. and Louise J. Moran Chair of the Department of Learning and Interpretation, and that this department is the new name for the education department, two obvious questions come to mind:
Looking at Milwaukee, Thinking About San Antonio
At least from my vantage point in Houston, there don't seem to be many tea leaves to read regarding the abrupt departure of David Rubin from the San Antonio Museum of Art, where he's been the curator of contemporary art since 2006.
The Corcoran’s Houston Connections
Tyler Green has a long, thoughtful Modern Art Notes entry on what the National Gallery of Art might...
A Backdrop for Braque at the MFAH
The second-floor gallery of the Museum of Fine Arts, Houston's Law Building is one of the largest exhibition spaces in the country--so large that the Georges Braque retrospective only takes up half of it.