In Run the Code: Data-Driven Art Decoded by Thoma Foundation X Blanton Museum of Art, code does not sit invisibly in the background. It becomes the medium itself: elastic, unstable, and strangely luminous.
Though one of Texas’ biggest multidisciplinary arts events, Austin’s Fusebox Festival, moved from an annual to biennial schedule in 2024, that doesn’t mean the Fusebox organization took a year off to relax.
Indefatigable Alexa. That’s the only way to describe Austin’s Alexa Capareda, whose professional artistic engagements include dancing, choreography, teaching, film, drawing, arts administration/organization, and now additionally, acting.
“I'm sort of a frustrated writer, in a sense,” Candace Hicks tells me over Zoom. “And so, making artist books is a way of self-publishing. It’s also a way of making things permanent.”
In Zalika Azim: Blood Memories (or a going to ground), the ground is never just ground; it is a witness and a griot, a surface that keeps score of what passes over it and what takes root.
Is it strange for an opera company to stage Fiddler on the Roof? Showcasing the Broadway landmark makes total sense to Annie Burridge, Austin Opera’s CEO.
“We can’t build sets in here. We have to build a real thing,” says Azizi of what he approximates is a 20 feet by 70 feet space, with half of that reserved for the audience.