Two years ago, the Blanton Museum of Art received a gift of more than 350 prints from collector Dr. Gilberto Cárdenas, who holds one of the largest private collections of Latinx art.
A visit to the cavernous EaDO warehouse at 908 Live Oak Street in Houston, the physical home of the groundbreaking non-profit design house Magpies & Peacocks (M&P), leaves a mélange of aesthetic impressions that reflects the environmental sustainability mission of the organization, yet defies definition.
The phrase “art studio tour” doesn’t typically bring to mind mass crowds of visitors, city-wide organizational partnerships, or heated discussions about escalating real estate prices.
Coming of Broadway age in the shadow of the Hamilton juggernaut, Dear Evan Hansen, the seemingly unassuming musical about an unpopular high school kid with social anxiety, managed to turn its misfit story into a multiple Tony® Award winner.
With ten sold-out shows in a span of two and a half years, including the Stephen Friedman Gallery in London and Vielmetter Los Angeles, Deborah Roberts is experiencing a deluge of success.
Full of color, depth, and texture, the work of Olaniyi Rasheed Akindiya — brush name Akirash — seeks to dance, pull viewers in, and let them connect with the work and the world around it.
Texas is home to a growing cohort of Latinx playwrights working in all parts of the state who have chosen to remain here despite the unique challenges that they face as artists of color in the Lone Star State.
Impresario, the promoter, financier, artistic director and all round driving visionary of a performing arts company or enterprise, is not a title bestowed onto individuals much anymore.
In one more step towards the antiseptic future envisioned largely by sci-fi movies- a future without dust, disease, age or decay-the very language we invent for our technological revolution has become disembodied and etherealized.