While it is an integral component of the art ecosystem, the role of the collector tends to be overlooked in the context of the museum, at least as far as the audience is concerned; the objects in a museum can seem like they’ve always been there, their presence unquestioned.
Serendipity often plays a large role in life; it can in the art world, too. Laura Owens’s mid-career survey Laura Owens, is on view at the Dallas Museum of Art through July 29, after a run at the Whitney Museum.
Now in its second year, Vignette Art Fair will introduce the city of Dallas and members of a wide international art market to the work of Texas-based women artists.
Entering Libbie Masterson’s studio is like a breath of fresh air. A small outbuilding is tucked away in a lush courtyard garden in Montrose, windows overlooking the urban greenery. Fitting for an artist who is fascinated by landscape.
Sitting at a red light in Houston, behind a Range Rover with an “I [red cube] Marfa” (like I [heart] NY) bumper sticker, I’d say Marfa’s myth is at peak mythology.
Ripple, on view at Cherryhurst House through Jan. 1, 2019, is the latest and perhaps the most ambitious deconstruction/transition project by the Houston-based artist collective Havel Ruck Projects.
Ana Fernandez planned to major in history before the smells emanating from art classes at the University of Texas at San Antonio drew her in a different direction.
The arts communities of Dallas—like many art communities across the country—are prone to tribalism, which plays out across disciplines, geographies, ethnicities, career stages, education levels, politics, and incomes.