Trying to fail has played a major role in the work of Albert Oehlen.
The artist’s material of choice is live fireworks, or rather the tinted smoke, made of fine particles of organic dyes, that color their familiar, ordinarily airborn explosions.
Abdessemed’s show is an exhilarating introduction to his work as the artist’s “acts” (as he calls his works) have a truly visceral resonance for every viewer. Yet, the show suffers from the ubiquitous interests of the artist, his “fascination with the world” as he himself identifies it.
The problem with late Picasso has to do with his stubborn insistence on diaristic expressionism increasingly isolated from changing times.
While the Texas Biennial has some kinks to be ironed out, ALISON HEARST reports, working together to increase the dialogue and push Texas art forward is what Austin does well.
Freilicher’s work becomes tighter over time, but the spirit of chance encounter remains.
By relaxing conventional standards of realistic description, Hynes makes her images immediately accessible to the mind and its fluctuations of mood, and enables herself to explore the modernist vision common to the painters that inspire her
Goldberg navigates directions between abstraction and referential drawing. Most of his imagery is rooted in the organic and yet conglomerates of patterned forms can establish structures that hint at geometric organization.
Fishman had been asking very specific things of her chosen medium: how does one make it relevant to oneself and one’s history? How does one possess it? How do you filter your experiences through it?