For many years now, upon arriving in a new city one of the first things I do is find out not where the best places to eat or visit are, but to research whether Serge Diaghilev’s Ballets Russes or Anna Pavlova’s company performed there.
“She played with a fine fury all evening, and her bow was a rod and a staff for the comfort of Nespoli,” lauded music critic Hubert Roussel, writing for the Houston Gargoyle.
Judy Chicago’s monumental installation, The Dinner Party, debuted March 14, 1979, at the San Francisco Museum of Modern Art, the first stop on a planned nine-year tour of the U.S. and abroad.
Jim Harithas was the maverick director of the Contemporary Arts Museum Houston from 1974 to 1978.
For one night, San Antonio just may have been the United States’ operatic capital.
In early December 1916 Vaslav Nijinsky, the greatest dancer alive, spent a week in Texas.
Houston audiences will get a rare glimpse into the Bayou City’s pre-boom, Jim Crow-era art scene when the exhibition Planned, Organized and Established: Houston Artist Cooperatives presents paintings and ephemera from two 1930s collectives—one white, one black.
It’s difficult to imagine a time when all professional theater in the country emanated from New York. It might be even harder to believe this centralization of theatrical production first began to change in Dallas, Texas.
I’ve always had a pestering curiosity about Anna Sokolow. A great American choreographer who influenced the development of modern dance in America, Israel, and Mexico—to say nothing of the famous actors who credit her as a force in their training, including Faye Dunaway, Julie Harris, Eva-Marie Saint, Jean Stapleton, Eli Wallach, Patti LuPone, and Kevin Kline—Sokolow nevertheless remains at the periphery of the canon.
The U.S. presidential election looms, and the politician has planned his trip for maximum media impact. He’s a divisive figure, with ideas that could revolutionize the world order. Cameras track his plane’s arrival, and when he steps out, legions of television viewers are watching him. He knows that, and he has every intention of capitalizing on it.