Natalie Hegert

1 week ago | southwestcontemporary.com | Natalie Hegert

José Villalobos: Rough Rider at Arizona State University queers the traditional masculinity inherent in cowboy culture’s objects of desire. José Villalobos: Rough RiderFebruary 22 – July 20, 2025Arizona State University Art Museum, TempeJosé Villalobos is queer multi-media artist who grew up on the border between El Paso, Texas, and Ciudad Juárez, Mexico, immersed in Norteño culture and his conservative Mexican family’s values.

1 week ago | southwestcontemporary.com | Natalie Hegert

Hank Willis Thomas’s LOVERULES offers a comprehensive survey of a decade’s worth of artwork but flounders in our current political crisis. LOVERULES—From the Collections of Jordan D. Schnitzer and His Family FoundationJanuary 18 – June 21, 2025University of Arizona Museum of Art, Tucson“There are so many wonderful places in Tucson, like the University of Arizona,” said Jordan B.

2 weeks ago | glasstire.com | Natalie Hegert

Since the abrupt closure of the Panhandle Plains Historical Museum, Canyon, Texas, has a lot less gallery space for visual art. Luckily for the community and for students at West Texas A&M University , the university gallery in Mary Moody Northern Hall has an absolute stunner of a show that provides some respite from — and resistance to — our current zeitgeist of anxiety and loss.

2 weeks ago | southwestcontemporary.com | Natalie Hegert

Hallie Ayres follows the barbed wire strand to contrast the hypervisibility of Cadillac Ranch, the secrecy of Pantex, and the site-specificity of Combine City. This article is part of our The Hyperlocal series, a continuation of the ideas explored in Southwest Contemporary Vol. 11. In late 1982, peace activist Jim Douglas spotted an armored white train snaking into the Trident Naval Submarine Base in Bangor, Washington.

4 weeks ago | southwestcontemporary.com | Natalie Hegert

Artist Jack Craft operates a cattle ranch in the Texas Panhandle while producing minimalist sculptures and experimental prints. The first time I met Jack Craft, we were in a meticulously raked “zen garden” art installation and he handed me a shot of tequila in a tiny iron pinch-pot. The second time I met Craft, he was holding a microphone outside of the gallery I co-founded, calling like a seasoned rodeo announcer.