In her installation for the exhibition Tensile Strength at the Silos in Houston, Austin-based artist Beili Liu wanted to think about the silo as both a physical space and a metaphor for division.
Last April, as the evening weekend revelries began at Fusebox, Austin’s annual cross-disciplinary arts festival, performer Joseph Keckler took the stage at Al Volta’s Midnight Bar.
Zack Ingram wasn’t entirely optimistic in spring, when he applied for the inaugural Tito’s Prize, a collaboration between Big Medium and Tito’s Handmade Vodka to help develop an Austin-based artist’s career.
As a curmudgeonly connoisseur of holiday performing arts, I’m always on the lookout for the innovative, quirky or simply new shows to devour like Christmas candy each most-wonderful-time-of-the-year
Shakespeare, politics, glam rock: these are not terms we often put together, if ever, yet this month, Austin’s Hidden Room theater company plans to merge the three into a rocking trio for a production of the Bard’s glorious history play Henry IV, through Oct. 1 at York Rite Masonic Hall.
“Keep Austin weird,” the bumper-sticker admonition goes, but German filmmaker John Bock—the latest of many European artists to take a cinematic crack at Texas, has envisioned a weirder Austin in Dead + Juicy, an exhibition combining an “uncanny musical” with an installation of transformed versions of the film’s props and sets.