Houston’s origins as an international photography mecca date back to the early 1980s, when Frederick Baldwin, Wendy Watriss, and Petra Benteler founded FotoFest, an international non-profit photographic arts and education organization.
One of the Dallas Museum of Art’s strongest collecting areas is art made after World War II, but because the DMA lacks permanent gallery space for those holdings, shows like Never Enough: Recent Acquisitions of Contemporary Art represent a relatively rare chance to dive into them.
The experience of listening to crickets on a quiet night footnotes one of the premises of Quantum Theory: that by the very act of watching, the observer affects the observed reality.
Dallas struggles with its identity. If the three big cities of Texas were familial stereotypes, Dallas would be the middle child, stuck between its classy older sibling, Houston, and the cool, do-no-wrong youngest sibling, Austin.
On Houston dance stages, this season has been a virtual feast of American dance thanks to Society for the Performing Arts’ focus on great American Dance Companies.
Los Angeles-based conceptual artist Charles Long’s CATALIN and Pet Sounds are the two newest sculptural installations on view at the Contemporary Austin’s two venues, the Jones Center and Laguna Gloria.
