Media art (now “new media art”), including Anker’s, is evidence that modernism never died, it just plodded along, unnoticed during the Epoch of Irony that was postmodernism.
Charissa N. Terranova
-
-
The work of casualists and provisionalists like Walker is not Jerry Salz's “Neo-Mannerism.” These artists are, if anything, neo-modernist. This crop of new, young work in Dallas is a throwback to Giacometti, Guston, and Rothko.
-
The latest exhibition at brand 10, Fort Worth’s smart, cozy and newest kunsthalle, On Wheels is equal parts kitsch and high politics. In this show, plain-faced middle-American falderal meets something…
-
Dan Perfect’s Paintings and Drawings at Road Agent Gallery does not so much revitalize high modernism as cast it in an awfully hip light. The doodles, squiggles and jig-dancing zoography…
-
A young man in Teresa Hubbard and Alexander Birchler’s docu-video Grand Paris Texas, part of No Room to Answer at the Modern Art Museum of Fort Worth, explains the difference…
-
The work in Sehnsucht (Aspiration), currently showing at Light & Sie Gallery in Dallas, is at once challenging and accessible; vaguely inscrutable in its occasional abstraction and seemingly easy in…
-
It was appropriate that George Michael played a live concert at the American Center in Dallas the day after Glasstire’s interview with Tim Noble and Sue Webster. Post-YBA Brit artists…
-
Arthouse in Austin is a layered place. As the Kunsthalle of Texas’s capital city, its projects are varied, from the ballet music installation extravaganza of the forthcoming Cult of…
-
The artist Rebecca Carter revels in personal hybridity. She is comfortable being queer. (For the sake of identity politics, and to those women out there who might have wanted a…
-
Brit artist Tracey Emin is a woman’s woman. She cuts a clear path through the bush — the weeds of yesterday’s feminism, the “ism” without which we’d be nowhere.
-
Airs de Paris, a rangy exhibition on the top floor of the Centre Pompidou, marks the 30-year anniversary of the Marcel Duchamp retrospective that inaugurated the museum in 1977.
-
Gallery owner, art collector and pop-icon partner (he is George Michael’s lover), Kenny Goss is a Nietzschean Yes-Sayer. Goss says “yes” to tomorrow and “arrivederci” to yesterday. In a recent…
-
Exploitation of the female body is the shared theme of work by Joy Christiansen and E-J Major recently shown at Photographs Do Not Bend Gallery in Dallas.
-
Rebecca Holland’s new work at Barry Whistler Gallery is precious and ironic at once. The pastel colors — pink, yellow and chartreuse — of the translucent planks, square sheets, brick-o-blocks…
-
John Hartley makes photo-realist paintings of rusted old toys from photographs of these prettily worn objects, which the artist collects.
-
The future is now in Dallas…and elsewhere on the globe. Fast Forward. Two other exhibitions in the last five years have used the same terminology as the current two-part extravaganza…
-
“Nothing escapes eventual absorption.” — Hans Haacke¹ Hans Haacke called it absorption. Others have described it in terms of recuperation or complicity.² By “it” I mean the way in which…
-
The events of 9-11 made Americans aware of their alien status in the world. We are foreigners in a world of foreigners and we are strangers to ourselves. In keeping…
-
Christian Pitt's art fits somewhere between the seventh-grade world of Dawn Wiener in the 1996 film Welcome to the Dollhouse and the parlor life of Nora Helmer in Henrik Ibsen's…
-
No longer mere housewifery, sewing is the work of smart, cutting-edge artists. Stitching, knitting, embroidering, crocheting, weaving, suturing: these are the acts of those who make the powerfully splayed, the…