Glass Satire’s newest installment explores the incompatibility of contemporary floor-based sculpture with very important people who don’t ever look down. (It also explains why the Félix González-Torres sculpture in the CAMH’s last show moved from the floor to a pedestal.)
Bryan Miller launches his new series, Glass Satire, with scenes from Richard Serra at the Menil.
It’s the All Star break, a time when the very best professional baseball players have to travel for work and the rest get a four-day vacation. It’s also the dead of summer, when the Houston art world generally slows to a trickle and creative group shows compete for the attention of whoever’s not in Aspen. [...]
