I was thoroughly bewildered when I first saw Hector A. Ramirez’ work as a member of his MFA committee at Texas Christian University in 2017. He handed me Carpet Shoes, a worn pair of men’s brown leather shoes with rectangles of yellowish carpet glued to their soles...
The paintings in John Currin’s show at Dallas Contemporary, a non-collecting warehouse museum, widely induced a queasy, unsettling tension. A common response to the artist’s work, the visceral repulsion and simultaneous attraction result from an unresolvable friction...
Three of the most storied artists in recent Los Angeles history were the subject of “Disappearing—California c. 1970” at the Modern Art Museum of Fort Worth (May 10–Aug 11, 2019), the show’s only venue. Despite the tight focus on just three artists, the exhibition...
The “death of painting” is frequently traced to the work and writing of Donald Judd. In 1965's “Specific Objects,” the same essay in which Judd outlined painting’s limitations—above all, its inherent illusionism—he even more forcefully predicted the death of...
Nearly all of Chris Burden’s numerous and generally laudatory obituaries include in the title or first line, “...the artist who had himself shot.” Beyond the immediate and not so subtle insinuation of craziness—“People thought he was nuts,” an admiring Ed Moses told...
Surveying advanced art from Mexico City during the last quarter century, “México Inside Out: Themes in Art Since 1990” includes the work of 22 artists, mostly in their 30s and 40s, and one collective. The fact that several artists are not native Mexicans demonstrates...
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