In this exhibition, Byzantine functions less as a historical or stylistic category than as a gambit for interacting with the material world: To be Byzantine is to allow things—not necessarily artworks, but all manner of objects—to be … READ ON
Upon arriving in Austin a few weeks prior to the opening of her current exhibition, Emily Roysdon enlisted several people from the local arts and queer communities to participate in foraging for materials, assisting with printmaking, and … READ ON
Curator and critic Douglas Crimp is a professor of art history at the University of Rochester. His latest book, “Our Kind of Movie”: The Films of Andy Warhol, which has just been published by MIT Press, is a collection of essays about … READ ON
As part of her six-week residency at the University of Texas’s Visual Arts Center, Amanda Ross-Ho enlisted the help of a small army of eager volunteers to help construct UNTITLED NOTHING FACTORY, 2011. The enterprise was open to whoever … READ ON
A cosmos is a view of the universe as a system, an entity with its own intrinsic logic. “Cosmos,” Emilie Halpern and Eric Zimmerman’s collaborative exhibition, also follows a rigorous system of order––the show is dense, and the … READ ON
Travis Kent’s recent photographs in “Hope You’re Well,” his first solo exhibition, are devoid of irony. Though many of the images approach cliché––the back of a head against a pristine rainbow, a hipster couple kissing in the … READ ON
HOW DOES A HOUSE SPEAK? Le Corbusier’s famous declaration that a house is “a machine for living” may preclude any notion that a houseparticularly an exemplar of austere postmodernism, such as Richard Meier’s Rachofsky House in … READ ON
To mark Greely Myatt’s twentieth year working and teaching in Memphis, his work is featured in nine venues around the city for nearly four months. This proliferation of exhibitions offers a vast retrospective view of his output, much of … READ ON