Chad Dawkins

Deborah Roberts’ context is very much the America of our lifetimes.

We need to radically rethink the ways in which culture is funded, and this essay contains an idea for that.

Porch Swing Orchestra has the feel of a personal experience, a recording you would make for yourself and not something to be shared for "likes."

Sosnowska's sculptures of mutilated building elements are not creative approximations of architecture; they are staircases and other building elements fabricated to industry specification, distorted and reassembled.

The show avoids a decisive position on the role of narrative by offering a selection of works with the potential to tell a story—or to tell a potential story. That potential is elusive.

All three of the artists' shows at Artpace work with the collapse of art into other facets of life. Time off is time to work

Chad Dawkins asks the Brooklyn-based artist about what went into this site-specific sculpture commissioned by Blue Star Contemporary and the San Antonio Botanical Garden

Allen creates material boundaries within which his imagination flourishes. He hasn’t completely abandoned his tongue-in-cheek approach—the tendency is there—but it’s diffuse and delayed.

To experience art in the everyday requires a willful suspension of disbelief about that experience.

Setting up shop as the nefarious capitalist beast you seek to indemnify doesn’t so much reveal the troubling apparatus as it does prove your involvement in it.

This exhibition makes an incongruent overview and will be answered in kind.

The collected objects mingle, and the stories behind the objects create patterns, and the collection taken as a whole sends out the impression of luckiness in book form.