Texas by the numbers invariably proves irresistible. So does the Texas Biennial, back in its sixth iteration after a hiatus, on view through Nov. 11 at 211 E Alpine Rd.
San Antonio’s McNay Art Museum has been transformed into a haunted house for the Halloween season, as if a witch had cast her spell on the venerable San Antonio institution.
The art scene in Dallas has long been influenced by avant-garde women: From the The Betty McLean Gallery, which opened in 1951 as one of the first modern art galleries in Texas, to Valley House Gallery, founded by Peggy and Donald Vogel, to the visionaries of today who show no signs of slowing down.
Audiences rarely flock to exhibitions about 18th century European art with the enthusiasm shown for Impressionism and ancient Egypt, but the Kimbell Art Museum is hoping Casanova: The Seduction of Europe, on view Aug. 27 through Dec. 31, will change that.
The hot-button issue of casting has recently received a lot of ink as directors, actors, and audiences try to grapple with how to even out a traditionally imbalanced art form.
“Keep Austin weird,” the bumper-sticker admonition goes, but German filmmaker John Bock—the latest of many European artists to take a cinematic crack at Texas, has envisioned a weirder Austin in Dead + Juicy, an exhibition combining an “uncanny musical” with an installation of transformed versions of the film’s props and sets.