Up-cycled dresses on mannequins, paintings of deconstructed tracksuits, and massive lengths of cloth made with consumer technology fill the upstairs of the Contemporary Arts Museum Houston.
My name is Agostina Migoni and I am an opera singer. My grandfather, who lived with us during my childhood, was also an opera singer and my first music teacher, so I feel that my career path was determined pretty early on.
When I walk into Audrya Flores’s home studio in San Antonio, I find a wood-paneled room, with a carefully curated selection of objects—needlework, prints, collages, fabric pieces—paired with found things—a turtle shell, stones, a preserved bat, potted plants.
The donated collection includes over 500 photographs, 75 of which will be on view Feb. 22 – May 12 in Capturing the Moment: Photographs from the Marie Brenner and Ernest Pomerantz Collection at SAMA alongside key works from the Museum’s existing photography collection.
Thanks to Welch’s love for the music, he and the company are about to unveil their first staging of the mythology-based work, which premiered in a luxe Paris Opera Ballet production in 1876. Sylvia, the tale of a shepherd’s love for a forest nymph, is the first of four full-length story ballets that Houston Ballet has in store from now through June. The coming ones include the other great beneficiary of Delibes’ gifts, Coppélia.
This is French Room Salon and Culture Jack, two distinctly different series of art events, both gifted to Dallas towards the end of 2018. Although varied in format and feel, both series bring people together in close proximity, where they are subject to new art and ideas on a monthly basis.
When the Dallas City Performance Hall (now Moody Performance Hall) opened its doors to the public in 2012, it also opened the doors of opportunity to a number of mid-sized arts groups in need of a right-sized venue.
And so begins the story of the Dallas Chamber Symphony.