Lawndale Art Center’s exhibition Between Love and Madness: Mexican Comic Art from the 1970s, on view Jan. 18-March 25, is comprised of approximately 380 works
An adobe brick archway made by artists Rafa Esparza and Beatriz Cortez reorients and frames the entrance of Ballroom Marfa for the exhibition Tierra. Sangre. Oro., on view through March 18.
In Everything Turns Away Quite Leisurely, on view upstairs at the Blaffer Art Museum through Jan. 27, Gabriel Martinez intervenes in or trespasses onto urban space and the rhetorical and material organizations, constructions, signs and strategies of significations which seek to make sense of and discipline the bodies and materials dispersed there.
The breakthrough exhibition HOME—So Different, So Appealing, a seven-decade survey of works by Latin American and U.S. Latino artists who address the universal, elastic theme of home, draws part of its landmark status from its organizers, both encyclopedic museums, and the vast real estate they’ve given the show.
In her installation for the exhibition Tensile Strength at the Silos in Houston, Austin-based artist Beili Liu wanted to think about the silo as both a physical space and a metaphor for division.
After seeing the selection of recent paintings by Katherine Bradford in the Modern Art Museum of Fort Worth’s intimate Focus show of her work, on view through Jan. 14, I found myself searching for the perfect word to describe her surprising color palette.
During the past 10 years the Dallas Museum of Art has hit many important milestones signaling its emergence as an encyclopedic institution and a player on the international stage.
Mortal, an exhibition of work by Kiki Smith at the Dallas Contemporary, on view through Dec. 17, spans the last 10 years of the artist’s output and includes the installation of Pilgrim, a set of thirty industrial steel windowpanes of mouth-blown stained glass.
Day for Night, the music and art festival now entering its third year, has caused waves in the festival scene for its ability to mesh together art and music into an immersive experience.
Timothy Greenfield-Sanders began shooting large-format portraits in the late 1970s, using an 8x10-inch camera to capture a certain expression or pose that would reflect something memorable in his subject.