Standing six-foot-six, sporting a luxuriant silver mane and beard, decked out on formal occasions in flamboyant capes, he turned heads from Texas to New York....
“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....
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....
