“Creative people need time to sit around and do nothing.” This perceptive quote from author Austin Kleon, a self-described “writer who draws,” is front and center on Deborah Robert’s Instagram account as I’m writing.
The Tobin Collection of Theatre Arts contains artifacts dating back centuries, and its exhibitions sometimes revel in that broad historical panorama. But The Great Stage of Texas, running through July 24 at San Antonio’s McNay Art Museum—the collection’s home—could hardly be more contemporary.
Damaris Ferrer describes a bridge as a portal and any path or structure that serves as a connector. The Crossings is her global project which uses a massive, red fabric with eight elastic waistbands for eight movers as a catalyst.
This force, rooted in Red Star’s deep connection to Crow culture and identity, is foundational to all of Red Star’s works. When the San Antonio Museum of Art (SAMA) presents Wendy Red Star: A Scratch on the Earth (Feb.11-May 8), it will be the first solo exhibition of a Native American artist for the museum.
San Antonio-based artist Jennifer Ling Datchuk reminded me of Brecht’s riddle-like assurance while discussing her current exhibition Later, Longer, Fewer: The Work of Jennifer Ling Datchuk, on view at the Houston Center for Contemporary Craft until Jan. 8, 2022.
Sir Joshua Reynolds’ Mary, Lady Arundel of Wardour has belonged to the San Antonio Museum of Art since 1981.
Bushman and three other San Antonio musicians—pianist Daniel Anastasio, cellist Ignacio Gallego and violinist Sarah Silver Manzke—joined forces in 2018. To symbolize their group’s roots in the city, they dubbed it Agarita, taking the name from a shrub that’s native to San Antonio and the Hill Country.
We’re still holding our breath, knocking on a forest full of wood and sacrificing chicken-shaped tofu to Dionysius, but it looks like in-person, inside-an-actual-theater, theater will finally take the stage this fall.