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.
Two exhibitions dedicated to the life and works of the 20th-century Spanish Modernist sculptor Eduardo Chillida (1924-2002) are on view at the Meadows Museum through June 3.
I Think We Meet Here, on view through Feb. 23 at UT Austin Visual Arts Center, is an exhibition of video-based work by Shana Hoehn, Yue Nakayama, and Felipe Steinberg, three artists from the Core Residency Program at the Glassell School of Art, Museum of Fine Arts Houston
Francesca Fuchs has taken on the largest canvas thus far in her career, the north wall of the Lawndale Art Center with her mural, sensibly titled, North Exterior Wall, on view through October 2018.
It’s been awhile since an exhibition prompted me to play the “Whither Texas art?” parlor game—to check in on what, if anything, we mean when we use the term and how, if any way, we feel about it.
In 1913, Agnes Ernst Meyer, the wife of financier Eugene Meyer, Jr., and pregnant with her second child, was out of sorts and unable to make her rounds to the art galleries, where, as a former New York Post reporter on the art beat, she had been dubbed “the Sun Girl” by photographer-gallerists Alfred Stieglitz and Edward Steichen. Writing to Stieglitz, a brooding Meyer quipped, “I am now your Eclipsed Sun-girl.”