What is theater that doesn’t reflect contemporary realities? What kind of life can theatrical storytelling have if it doesn’t exist within the world it’s born into?
In the current FOCUS series of exhibitions at the Modern Art Museum of Fort Worth, abstract paintings by the African American painter Stanley Whitney are on view through April 2. This solo show is his first in Texas.
As the nation’s fourth largest city, Houston is home to more than 2.1 million people (over 5 million in the metro area). The city’s Latina/o residents comprise roughly 41 percent of the population. As I have detailed before (See: “Excluding Latina/o Stories in Tejas”), Houston’s arts scene has seen a major boom in capital projects, funding, and national exposure.
The Co-Work Space for Potential Dropouts, which will occupy SMU’s Pollock Gallery through March 11, is a project by the artist Avi Varma and curated by Pollock Curatorial Fellow Sofia Bastidas.
I've had the great privilege to see James Belcher on many a Houston stage. Right now, he's entrancing audiences in August Strindberg's The Ghost Sonata, through Feb. 26 at Classical Theatre, where he is a member of the resident company.
Late modern and contemporary Cuban art has gotten increased international exposure in recent years thanks to improved relations between the United States and Cuba, laying the groundwork for the Museum of Fine Arts, Houston’s unprecedented exhibition Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950.
The heroics of Beethoven’s Fifth. The exuberance of his Ode to Joy. The humor of his First Symphony. The drama of his Eroica. The Houston Symphony and Andrés Orozco-Estrada have embraced all that and more since they launched their Beethoven symphony cycle in 2015.
How might artists use their work to create connections across difference in these difficult times? Two shows currently exhibited at the Rubin Center for the Visual Arts at the University of Texas El Paso provide partial responses to this difficult question.
Nonprofit literary organizers draw all sorts of volunteers, but Elizabeth White-Olsen, executive director of Writespace, recalls one in particular. “We had a young lawyer show up, and she looked like a supermodel, in her miniskirt, cute silk blouse, high heels. She didn’t have time to change after work. I watched her in this outfit, moving furniture all day. I thought it was the funniest thing. That’s the kind of volunteer we have—so committed.”
Like its hometown, the Landing Theatre was born on the banks of Buffalo Bayou and its meandering, ebbing and flowing evolution has turned the company into an eclectic, yet distinctly American theatrical entity.
“We are putting in a dance floor,” Alison Weaver told me during a hard hat tour of the Moody Center for the Arts, which opens this month on the campus of Rice University.