From our friends at Glasstire, today we bring you an excerpt from Terry Mahaffey’s review of the inaugural installation at the Byzantine Chapel in Houston. Mahaffey explores his memories of the site—it originally housed a series of frescoes, now gone—and wonders if Janet Cardiff and George Miller’s installation would be better presented in a more neutral space. This article was originally published on April 20, 2015. Dominique de Menil’s[…..]

From our friends at Glasstire, today we bring you Christina Rees’ review of Loris Gréaud’s current solo exhibition at Dallas Contemporary. Rees describes the choreographed destruction of the work and characterizes the show as “a partial and contrived ruin,” noting that neither the artist nor the visitors seem invested. This article was originally published on January 19, 2015.  I suppose in the event of a chemical attack[…..]

“Other Faces” assumes the feel of reportage, as if we are witnessing certain events from the struggle against colonialism in South Africa’s turbulent past.

From our friends at Glasstire, today we bring you a review of Deborah Roberts’ current solo show at Art Palace in Houston, Texas. Author Betsy Huete notes, “To make political work without literally telling the viewer how he should think or feel is a tall order, yet Roberts pulls it off masterfully by intertwining the personal with the ideological. She infuses her work with subtle yet powerful[…..]

Today from our friends at Glasstire, we bring you Christina Rees’ essay on the “making [of] museums into happy-clappy community centers,” written in response to the controversial article “Everybody’s an Art Curator” in the Wall Street Journal. As Rees points out: “No other serious profession seems to open itself up to this ‘the public knows best’ mentality as much as that of art. I cannot imagine[…..]

Today from our friends at Glasstire, we bring you Joshua Fischer’s assessment of two videos currently on view in Houston, Texas. Instead of comparing works in the same exhibition, Fischer reviews videos by the artists Hito Steyerl and Camille Henrot in two different shows and defines the likenesses between them. He notes, “Steyerl and Henrot may have different outlooks and approaches […] but luckily they share[…..]

From our friends at Glasstire, today we bring you a review of Simon Starling’s film Black Drop. Author Peter Lucas notes, “The collaboration of art and science interests that led to the creation of the piece are fitting for its subject matter, as are the intersections of Texas arts institutions that led to the work’s first local exhibition at [a] suburban museum.” This article was originally published[…..]