Before the word “Dior” became synonymous with haute couture, before the House of Dior became the global fashion giant and icon of style, Christian Dior, the pioneering designer, ran art galleries and organized exhibitions that featured artists such as Picasso, Matisse, Alexander Calder, Jean Cocteau, Dalí and Duchamp.
In 1971, artist Chris Burden vanished for three days. No one knew where he had gone, and for those three days the artist questioned his own existence and what his disappearance meant.
Cast your brain on the ocean of pop culture references for “perpetual worker” and you may come up with workaholic TV dads, the Energizer Bunny, or even Sisyphus, doomed to an eternity of useless boulder-pushing.
Annette Lawrence reads me something she’s written about her work: “I’m tuned in to things that go unannounced and remain steady, continuous, and unremarkable on the surface, but hold magic over time.”
The wall next to Melissa Young’s desk is covered in neatly arranged Post-it notes. It’s how the artistic director of Dallas Black Dance Theatre keeps track of her future plans for the company.
As soon as Dallas Theater Center (DTC) announced its 2018-19 season, my group text with Houston theater writers began buzzing with excitement over productions of The Wolves and Sweat.
“There are associations that come with the use of a sarape, especially now with recent political and economic border issues,” says Adrian Esparza, referring to the brightly colored, blanket-like shawls from Latin America that inform and compose much of his work as well as the constant issue of the Mexican-American border, in which Texas is often found at the center.