Editor’s Remarks: February 2012

A+C is slow journalism in a world of instant information. We are all about lingering, tadalafil hopefully with a good arts story and a fine glass of wine in front of you. There’s something about print that expands in time and space.

It’s hard not to slow down as you enter the new Asia Society Texas Center. In our first architecture piece, Ned Dodington takes us inside Yoshio Taniguchi’s new Houston landmark.

John Sosini’s contemplative portraits at Inman Gallery made me want to park in front of them for hours. Nancy Zastudil tells us why. In contrast, she also lends insight into Laura Lark’s arresting images on view this month at Devin Borden Gallery.

Plan on several visits to the CAMH to fully take in “The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1991.” Rachel Hooper’s interview with curator Helaine Posner provides context.

We’re catching up on Houston’s vibrant performing arts scene. Considering the amount of activity, it’s not an easy task. Mark Lowry spoke with Alley Theatre’s Greg Boyd about their new production of Anton Chekhov’s “The Seagull.”

Holly Beretto examines the past and present of The Ensemble Theatre as they tackle “The Ballad of Emmett Till,” August Wilson’s “King Hedley II” and more this season.

Nichelle Strzepek delves into Houston Ballet chief Stanton Welch’s choreographic trajectory, including “Cinderella,” created during his boy wonder years, to his newest creation. More dance history is at work in Alvin Ailey American Dance Theater’s return to the SPA stage.

Musicians need more than chops, according to Chris Johnson, who investigates Houston’s top professional development programs at Rice University’s Shepherd School of Music, Houston Grand Opera Studio and Da Camera’s Young Artist Program.

Writing is a form of lingering, so it’s fitting that our cultural warrior is Rich Levy of Inprint, Houston’s leading literary organization.

I wonder what work of art will stop you in your tracks this month, or at least slow you down.

Nancy Wozny