Irony has been the standard currency of avant-garde art for so long now—50 years or even a century depending on how one looks at it—that it is simply grammatical.
iven that the art world is a breeding ground of extraordinary ego and smothering politeness, it is not surprising that most “arts leaders” are people sufficiently advanced in their careers to have the institutional backing to get away with being a jackass.
Executive Director Louis Grachos flexes his vision for The Contemporary Austin with the high-profile sculpture exhibition A Secret Affair: Selections from the Furhman Family Collection.
In the latest example of the Nasher Sculpture Center’s foray into contemporary art, Mark Grotjahn Sculpture is the first museum exhibition to focus on a body of work in this discipline from an artist primarily known as an abstract painter.
Currently on view at BLUEorange Contemporary, Suga is the fifth exhibition in a cycle of collaborations between artists Rabéa Ballin, Ann Johnson, Delita Martin and Lovie Olivia.
The El Paso Museum of Art’s big summer show takes ice as its epic yet delicate subject matter. Though striking imagery and art historical context, Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2012 gives new meaning to the phrase “moving at a glacial pace.”