In the three years that Sage Studio has showcased artists with disabilities—helping its roster develop and sell their works, much as ordinary galleries do—Austin’s art scene has embraced it, co-founder Lucy Gross says.
We’re still holding our breath, knocking on a forest full of wood and sacrificing chicken-shaped tofu to Dionysius, but it looks like in-person, inside-an-actual-theater, theater will finally take the stage this fall.
Nastassja Swift’s primary mode of artmaking in recent years has been needle felting—a form of textile production that renders wool into saturated, light-absorbing forms. Her dolls, figures, and tapestries of tiny faces are equal parts comforting and unsettling.
“My pathology is your profit,” a banner reads. Hanging from the rafters of the Contemporary Art Museum Houston’s main gallery, the silvery background glimmers as the text picks up the purplish hue of the light.
Texans love Impressionism in all its nationalities and schools, and Texas museums love bringing us Impressionist exhibitions in a myriad of flavors and themes.
“There’s a powerful thing with nostalgia and remembrance,” TUTS executive director Dan Knechtges says. “There’s great comfort in it after we’ve been through this plague—this pandemic.”
It will come as no surprise to anyone who knows her that Danielle Georgiou—who is perhaps the most eclectic choreographer in the DFW dance space—is already ramping up for a packed summer and fall season.
DACAMERA will launch its season Aug. 20-22 with SUMMERJAZZ, a one-weekend festival at the Wortham Theater Center. Long focused mainly on individual concert programs scattered throughout the season, the group is taking its first stab at filling a weekend with music.
Anna Elise Johnson’s Earthworks: West Texas, now on view at Cris Worley Fine Arts in Dallas through August 14, draws heavily from the mythology of the west, especially its deserts.