As an artist, curator, and cultural leader, Lauren Saba looks back at ten years of her gallery and feels a certain sense of satisfaction, knowing that she always trusted her intuition.
It’s 1992 at Glasgow School of Art. A seven-foot-by-six-foot painting that portrays a thick, fleshy female nude, subtly snarling and sitting on a pedestal, towers above visitors to an undergraduate exhibition.
In Zalika Azim: Blood Memories (or a going to ground), the ground is never just ground; it is a witness and a griot, a surface that keeps score of what passes over it and what takes root.
Derek Charles Livingston took his place as Stages artistic director a little over a year ago, but he lost little time immersing himself in Houston life and its theater community.
The clues lay in the lineup. Sitting down for a talk with Rich Levy and Krupa Parikh, executive and deputy directors of Inprint, about their 2025-2026 Margarett Root Brown Reading Series
In the Kimbell Art Museum’s Renzo Piano Pavilion, 58 ancient marble sculptures—some gods, others emperors, still others ordinary Romans—stand in commanding silence, carrying with them the weight of centuries.
Is it strange for an opera company to stage Fiddler on the Roof? Showcasing the Broadway landmark makes total sense to Annie Burridge, Austin Opera’s CEO.