More than an exhibition, an icon appears this summer at Texas Gallery — in the drolly, yet aptly titled, “William Wegman: Good Dogs on Nice Furniture.” The laconic, internationally shown lensman of renown — whose preferred, and most identifiable subjects, are his pet Weimaraners, beginning with Man Ray, the canine who started it all in Read
Jesús Moroles was one of the first artists ever profiled in the pages of PaperCity — appearing in the June 1999 issue in a special feature penned after a visit to the HQ of Studio Moroles in Rockport, Texas, which is also the nexus of the close-knit Moroles family. (Two years later, I returned to Read
Dallas Contemporary’s unerring director of exhibitions/senior curator, Justine Ludwig, reflects upon her recent jaunt to Manhattan and environs for the merry month of May’s art action. Did Frieze win her over, or NADA quicken her pulse? Read on. Now in its fourth year, Frieze New York is noted for its presence of blue-chip galleries, ambitious Read
For those who think museums are for pinkie-raisers, it’s time to think again.
If you have easy access to the Nasher Sculpture Center, consider yourself profoundly fortunate. Its dedication to a quality art trove assembled on a hugely imaginatively scale sets a high bar — frankly, it’s far more rewarding than a prissy stroll through Versailles. If the Nasher’s veritable excess of elegance doesn’t make you happy, well, that’s unfortunate; Read
When work migrates between an artist studio and a gallery or museum, it’s often a surprise. In the case of some artists with polish and a museum/collector pedigree, the work may move from one pristine environment to another. In contrast, very edgy work sometimes looks too raw and unfinished coming straight from an emerging talent’s Read