Books
In Praise of the Exhibition Catalogue
Shary Boyle’s Outside the Palace of Me exhibition catalogue provides viewers with experiences that an in-person visit cannot.
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Books
Demolishing the Categories of Word and Image
An anthology of poems, fiction, and translated essays combined with images explores the role of memory and the visual.
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A Fresh Look at Flowers in Photography
Can photographers capture the vitality of flowers compellingly, innovatively, and beautifully? A new book gives a resounding yes.
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A Forgotten Modernist Finally Gets His Due
Architect Jean Welz worked in a socially engaged style that transcended individual pursuits for glory.
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How One Woman Built a Famous Male Architect’s Legacy
Eva Hagberg’s new book sheds light on the relationship between critic and publicist Aline Louchheim and architect Eero Saarinen.
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A Decade Among the Mennonites
Larry Towell’s images reveal a little-seen, isolated world and raise questions about the unforgiving impact of tradition on families.
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A History of Houston’s Creative Terrain
Impractical Spaces: Houston resurrects the stories of the city’s artist-run venues since 1947.
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The Largely Unknown Story of Women, Abstract Expressionism, and Texas
Three Women Artists: Expanding Abstract Expressionism in the American West uncovers the little-known stories of professional and creative gains in the region, and especially in the Texas Panhandle.
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The Best Part of Mary Heilmann’s Memoir Is the Paintings
The All Night Movie recounts the artist’s experiences in New York’s art world of the 1970s and ’80s with a list of mostly bygone names and places.
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Alain George’s Detailed View of Art, Faith, and Empire in Syria
Borrowing the model of the palimpsest, George's The Umayyad Mosque of Damascus: Art, Faith and Empire in Early Islam takes the reader on a vivid tour of the renowned mosque’s history, meaning, and significance.
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The Shadowy Past of San Francisco
Mimi Plumb's photos of 1980s and ’90s San Francisco look at the dissonance between an expanding metropolis and its surrounding environment.
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Who Holds the Power in Art?
If art is power, as Farah Nayeri's Takedown consistently shows, then how can galleries and museums successfully negotiate relationships of power?