As the United States closed its skies on September 11, 2001, thousands of plane passengers found themselves in midair over the Atlantic with only one place to land—the airport near the small town of Gander, Newfoundland.
San Antonio’s McNay Art Museum operated for decades with a major gap in its holdings. “When you think of all 20th-century art, the U.S. made two huge contributions to the canon,” says Lyle W. Williams, the McNay’s curator of prints and drawings.
Coming of Broadway age in the shadow of the Hamilton juggernaut, Dear Evan Hansen, the seemingly unassuming musical about an unpopular high school kid with social anxiety, managed to turn its misfit story into a multiple Tony® Award winner.
An orchestral score for a ballet wouldn’t ordinarily pop up in an art museum’s storage room. But the one in San Antonio’s McNay Art Museum, a score of Erik Satie’s surrealist Parade, was no ordinary example.
Now a new exhibition, Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement, brings their masterworks and stories to the San Antonio Museum of Art (Oct. 11, 2019-Jan. 5, 2020).
Both of my grandmothers were factory workers. Paw Paw, my Chinese grandmother, watched her family oppose the Communist party in China and lose everything. They left mainland China for British-controlled Hong Kong before arriving to the United States as refugees.
San Antonio may be overlooked as it is browner than other major cities in Texas, and although people of color are the numerical majority in the city, there is little ethnic or racial diversity in the field of contemporary dance.