Dorothy Hood’s artwork is a reflection of a life of unapologetic independence. Before man walked on the moon, the Texas native began making her own trailblazing discoveries in the art of abstraction.
Convention is not a part of Allison Orr’s vocabulary. The Forklift Danceworks artistic director has carved out a particular niche in the site-specific performance world of Texas—one that draws attention to the people and systems that keep our communities ticking, often without thanks or notice. This is Orr’s specialty: bringing the invisible to the forefront.
“Do you know the stereotype that any male who’s approaching his mid-30s becomes really interested in World War I or World War II?,” Shayne Murphy laughs sheepishly, including himself in this group.
Hannah Munitz's face lit up when I asked her about the Israeli Opera’s production of Onegin, which opens The Dallas Opera’s 2016/17season, Oct. 28-Nov. 6.
Though only two months old, Houston’s latest performing arts venue, the Rec Room, has established itself as a quirky alternative to traditional theater companies.
A woman takes a walk through the woods. She travels with a destination weighing heavy in her mind, an appointment to keep, yet along the way she meets a stranger by happenstance and everything changes.
All too often choreographers of modern dance present work based on material they without question know and understand: their own life stories, experiments based on individual movement practices, or explorations of thematic content that shoot out of their imaginations.
Pablo Helguera's exhibition The Fable is to be Retold at DiverseWorks (on view through Nov. 19) opened with a performance recital in five parts, each of which considers the ways we learn and imagine, evoked through the lens of youth.