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.
One man’s whim-turned-obsession is changing Houston’s McKee Street Bridge and its faded environs into one of the few really original artistic images of the city.
The Kimbell’s exhibit of seventeenth-century Spanish still lifes is dazzling enough to cause a modern photo-realist to look again.
Dallas’ Fifth Texas Sculpture Symposium proves it’s time for us to look to our sculptors for public artworks.
The impressive canvases that make up “Fresh Paint” at the Museum of Fine Arts prove that Houston has finally arrived as a significant art-making center.
With his rough-hewn sculptures that speak to mankind’s most basic needs, James Surls is fast becoming the dean of Texas art.
From lacquered debutante to fossilized ol’ gal, her greatest virtue is endurance.
Sculptor Donald Judd had the vision. The Dia Art Foundation had the money. Now they’ve had it with each other.
On Sunday it is legal to buy beer but not baby bottles, screws but not screwdrivers, disposable diapers but not cloth ones. No place but Texas.
German landscape artist Hermann Lungkwitz saw romantic vistas in the Hill Country at a time when most Texans saw only hardscrabble farmland.
Five Texas artists are among those selected for “Paradise Lost/Paradise Regained”, this year’s American entry into the Venice Biennale.
Robert Frank took casual but expressive snapshots that captured dramas of American life and altered the course of modern photography.
Houston’s brash “alternative spaces” are doing more than the city’s mainstream galleries to keep Texas art fresh, rich and diverse.