“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.
One shouldn’t read too much into serendipitous timing, but I can’t help noting that Rebel, Jester, Mystic, Poet: Contemporary Persians —The Mohammed Afkhami Collection, on view through Sept. 24 at the Museum of Fine Arts, Houston, is the fourth exhibition of post-revolutionary art the MFAH has mounted in 2017.
A captivating exhibition of over 150 prints drawn from the National Gallery of Art in Washington, D.C. has quietly opened at the Dallas Museum of Art as if it flew in under the radar.
An exhibition surrounding Polaroid photography has landed at the Amon Carter Museum in Fort Worth, and for many of us the subject is something from the not-so-distant past that comes with a heady dose of nostalgia.
Eyebrow-plucking as critique of conventional gender roles; wigs that mimic authenticity but question identity; porcelain mugs in service of social awareness: These are just a few of the recent artworks by Jennifer Ling Datchuk that provoke important, if not awkward, conversations.
It could be argued that art is limitless. But is it borderless? This summer, Artpace embraces this question with two solo exhibitions of work by Sabine Senft and Doerte Weber, artists who are addressing global issues of migration and geopolitical borders.