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.
Melissa Miller’s latest paintings are a dark departure from her past; a Rauschenberg retrospective examines his youthful eye.
Sifting through stored collections, the Dallas Museum of Art discovers a tradition of spiritual subtlety among Texas artists.
Visitors may suffer from culture shock upon seeing the artistic riches of “Mexico: Splendors of Thirty Centuries.”
An exhibition by a trio of contemporary women artists looks at what matters most to them.
Benito Huerta reconciles the religious and the worldly in powerfuul new works at Houston’s Contemporary Arts Museum.
Drawing from its extensive Texas art collection, Houston’s Museum of Fine Arts has assembled a concise survey of a vast subject.
A Fort Worth exhibit of scenes from the Mexican War shows that fanciful lithographs outgunned the realism of nascent photography.
Two museum shows culled from private collections illustrate that Texans know what they like—and it's not just Monets and Renoirs.
For years, the Dallas Museum of Art sought prestige by following the mainstream. The new director thinks it’s time to change course.
FYI: The Houston Post’s new society sleuth has great connections, a phone in her purse, and the complete attention of Houston’s haut monde.
In a Fort Worth exhibit of Russian and American paintings, two groups of artists use the same vocabulary to express profoundly different views of life and art.
The current show at Houston’s Museum of Fine Arts brings 150 years of photography into sharp focus.
In a Houston retrospective, the art of Julian Schnabel appears to be aging prematurely.