Being a sister is complicated.
In 1961, the year Ida O’Keeffe died, her sister wrote, “In some odd way, it is a wasted life.”
That sister, Georgia, would be the one the world remembered.
As you come around the entrance to Margaret Meehan's Conduit Gallery exhibition, Hope is the Thing with Feathers (through Nov. 24), a concrete cast of a tree stump sits facing the pink parachute installation in the center of the room.
The Dallas Opera's production of The Flying Dutchman, beautifully conducted by Emmanuel Villaume and under the direction of chorus master Alexander Rom and stage director Christopher Alden, takes 1930s-era Germany as its visual and conceptual stage.
Concentrations 61: Entremundos, on view at the Dallas Museum of Art through Feb. 17, 2019, is the first solo museum exhibition in the United States by Swiss and Brazilian-based artist Runo Lagomarsino, although he has shown work throughout the country.
As more instances of sexual harassment and abuse of power are being uncovered, especially in the theatrical community, more companies are realizing they need an important addition to their creative team: an intimacy director.
“I’m trying to tell my own truth,” says Laurie Simmons. When we speak on the phone, she is in the midst of preparing for Big Camera/Little Camera, a major survey of her work at The Modern Museum of Fort Worth on view Oct. 14 through Jan. 27, 2019.
The Kimbell Art Museum in Fort Worth will give Texas art lovers a new and unique perspective on the complex genius with the exhibition Goya in Black and White, Oct. 7-Jan. 6, 2019.
In May 2018, Teresa Coleman Walsh published an essay on HowlRound, the popular online platform for theater makers sponsored by Emerson College, titled “The Ugly Truth about Arts Institutions Led by Women of Color.”