From woodwind trios to massive orchestras, most musical groups can prepare for a concert in a fairly straightforward way.
Texas by the numbers invariably proves irresistible. So does the Texas Biennial, back in its sixth iteration after a hiatus, on view through Nov. 11 at 211 E Alpine Rd.
An interest in what isn’t shown in a photograph is a relatively recent preoccupation among art audiences.
The art scene in Dallas has long been influenced by avant-garde women: From the The Betty McLean Gallery, which opened in 1951 as one of the first modern art galleries in Texas, to Valley House Gallery, founded by Peggy and Donald Vogel, to the visionaries of today who show no signs of slowing down.
Watching a rehearsal of Mayerling I witnessed a company in motion in more ways than the splendid dancing in the room.
Audiences rarely flock to exhibitions about 18th century European art with the enthusiasm shown for Impressionism and ancient Egypt, but the Kimbell Art Museum is hoping Casanova: The Seduction of Europe, on view Aug. 27 through Dec. 31, will change that.
Even as an undergrad, ceramic sculptor Annabeth Rosen was known as a “rabble rouser” for constantly testing the limits of clay.
The hot-button issue of casting has recently received a lot of ink as directors, actors, and audiences try to grapple with how to even out a traditionally imbalanced art form.
Jimmy López got hooked on classical music when he was 12, thanks to J.S. Bach’s counterpoint.
“Keep Austin weird,” the bumper-sticker admonition goes, but German filmmaker John Bock—the latest of many European artists to take a cinematic crack at Texas, has envisioned a weirder Austin in Dead + Juicy, an exhibition combining an “uncanny musical” with an installation of transformed versions of the film’s props and sets.