Christina Rees

Blankness in a human is frightening. Anonymity in a person is menacing.

"The research was really addictive... I worked on this book slowly and patiently for about five years. In some ways I feel like I have only scratched the surface of what was happening here."

We may have invited plenty of trouble on ourselves for thinking life should be risky, but at least we resist.

Here in Texas there are more art venues, art-school programs, and artists than ever before. And a dire lack of honest, engaging, readable critical writing about any of it.

In what may be an unsubtle overcorrection, the Dallas Museum of Art is currently sporting all-woman contemporary shows in three of its four quadrant galleries.

These days, no one trolls liberal America better or harder than Republicans do. 

It’s not so much about liking, or “liking,” a casting decision. It’s about believing in the character.

This terrific show feels like a private walk-through of the artist’s own sketchbook.

This is a quietly furious show with just a lick of humor, a charming presentation, and a bitter finish.

Here’s what I think. I think the fair is, this year, powered along by its own momentum. I think it’ll take a couple of years to feel the impact of new directors and a fair without Chris Byrne.

The whole show functions as a gentle commentary on how the movie version of circa-1870 has always been a formalized Hollywood mediation of a much harsher truth.

The keynote speakers at this year's Texas Sculpture Symposium embrace the gray areas thrown up by human behavior through the wide, long lens of conflict.

I wonder how many of the artists in this show really just wanted to drive a big truck through the plate-glass window that overlooks the pool. “There’s your art. The house looks better already.”

A fruitful collaboration results in these tapestries, each of which really do seem to encompass a whole vibrating universe.

The piece is a marvelous if unpretentious centering of Sawyer's concerns.

Walking into an established gallery is like walking into the house of a nuclear family where the parents are still together and the kids make decent grades.

Graybill certainly knows how make excellent objects and installations with the kinds of things we never associate with art.

Keasler took a deep breath and dove into this esoteric and unlikely subculture with her eyes and lens wide open.

'Tea Ceremony' is a natural evolution of Sachs’ sensibility. He’s demanding that both he and his audience slow down.

I felt incredibly gratified to see Harryhausen’s kraken and Medusa and Pegusus in person, and, as nostalgia’s double edge is prone to deliver, a little shaken.