Michael Ennis has been a regular contributor to Texas Monthly since 1977. He is the New York Times best-selling author of the historical novels The Malice of Fortune, Duchess of Milan, and Byzantium, which have been published worldwide. He earned his degree in history from the University of California, Berkeley; taught art history at the University of Texas, Austin; and is a former John D. Rockefeller III Foundation Fellow. His nonfiction writing, on subjects ranging from military preparedness and national politics to art and architecture, has won several national awards; been included in the curriculum of the U.S. Military Academy at West Point; and has been published in a number of books and anthologies as well as magazines such as Esquire, ARTnews, and Architectural Digest.
How a collection of paintings and drawings coveted by Sotheby’s and other art world Goliaths ended up at the University of Texas at Austin.
With a major retrospective of his work at three Houston museums, Robert Rauschenberg is once again the talk of Texas. What’s he been up to? A portrait of the artist as an old man.
Less than a decade ago, she was a homemaker and an arts volunteer, but today the Arlington Museum of Art’s Joan Davidow is the most imaginative and adventurous museum director working in Texas.
The boom in “outsider” art that began in New York, Chicago, and Atlanta has finally come to Texas, driven by true visionaries whose images conjure worlds that may have never existed but are invariably inhabitedby penetrating psychological truths.
By employing stereotypes like Sambo and Aunt Jemima, Austin painter Michael Ray Charles hopes to master the art of racial healing.
Now that both its building and its mission have been renovated, Houston’s Contemporary Arts Museum is ready to win back the public and reestablish its eminence.
Long mocked for making unrecognizable pieces of junk, Texas Modernists strike back in a superb exhibit at the Museum of Fine Arts, Houston.
An ambitious new exhibit at the Museum of Fine Arts, Houston suggests Texas is becoming less like itself and more like everyplace else.
A Houston art exhibit juxtaposes spirit and science with family photos, Tylenol caplets, and gigantic blood cells.
The Dallas Museum of Art spent $55 million on a splendid new wing—and redefined itself in the process.
A provocative San Antonio exhibit captures the flash and fervor of the Chicano movement in art and politics.
With the suddenness of a revolution, Texas changed from a cultural colony to a hot spot for homegrown artists.
A Houston show introduces new black Texas artists in works that range from personal vision to political agitprop.