Immersive Nature: Anila Quayyum Agha at the Carter
A Beautiful Despair, Agha’s exhibition commissioned by The Carter, is on view at the museum through Jan. 9, 2022.
Visual Art
Turner’s Modern World at the Kimbell
“Steam-powered anything is one of the backstories of this exhibition,” explains George Shackelford, Kimbell Art Museum’s deputy director and curator of European art, referring to the museum’s latest exhibition, Turner’s Modern World, Oct. 17-Feb. 6, 2022.
Treasures and Discoveries Revealed: San Antonio Museum of Art Celebrates 40 Years
Sir Joshua Reynolds’ Mary, Lady Arundel of Wardour has belonged to the San Antonio Museum of Art since 1981.
Make It So: Texas Biennial Centers and Connects Visionary Artists
From slabs on the scene to teeter-totters at the border, and all manner of complexity in between, what happens in Texas does anything but stay put.
A Hybrid Story: Hubbard / Birchler’s Flora at the Modern
Flora Mayo was an American artist who came from an influential family.
Power Surge: Christopher Blay’s Solo Exhibition at Austin’s Big Medium
Language is everywhere,” says Christopher Blay, artist, art critic, and newly appointed chief curator at Houston Museum of African American Culture.
Connecting Across Disciplines: Vicki Meek Texas Artist of the Year
Getting in touch with one’s heritage is something of an American pastime.
Canvas & Silk at the Meadows
If fashion has a place in a museum, is it just brand promotion, or is it as vital as any other of the decorative arts and architecture?
Texas Studio: Bennie Flores Ansell
The idea of migration has been with Flores Ansell all her life. “I am evidence of a migration.”
Sage Studio: Artists in Tandem
In the three years that Sage Studio has showcased artists with disabilities—helping its roster develop and sell their works, much as ordinary galleries do—Austin’s art scene has embraced it, co-founder Lucy Gross says.
Lost Time: Nastassja Swift at Galveston Arts Center
Nastassja Swift’s primary mode of artmaking in recent years has been needle felting—a form of textile production that renders wool into saturated, light-absorbing forms. Her dolls, figures, and tapestries of tiny faces are equal parts comforting and unsettling.
On Utopia, Galvanization, and Interstellar Travel: Cauleen Smith: We Already Have What We Need at CAMH
“My pathology is your profit,” a banner reads. Hanging from the rafters of the Contemporary Art Museum Houston’s main gallery, the silvery background glimmers as the text picks up the purplish hue of the light.