Past exhibitions by Kamrooz Aram have carried such provocative titles as Unstable Paintings for Anxious Interiors and Ornament for Indifferent Architecture.
It’s a Tuesday night at Buzzbrews Kitchen in Dallas’ Uptown neighborhood, where tattooed waitresses with Bettie Page-inspired hairstyles are ferrying plates of hot pancakes and bacon to their tables.
While it is an integral component of the art ecosystem, the role of the collector tends to be overlooked in the context of the museum, at least as far as the audience is concerned; the objects in a museum can seem like they’ve always been there, their presence unquestioned.
Serendipity often plays a large role in life; it can in the art world, too. Laura Owens’s mid-career survey Laura Owens, is on view at the Dallas Museum of Art through July 29, after a run at the Whitney Museum.
Now in its second year, Vignette Art Fair will introduce the city of Dallas and members of a wide international art market to the work of Texas-based women artists.
When the Fort Worth Opera Festival unveiled its plans for this year’s edition, the repertoire included a milestone: the company’s first staging of Das Rheingold, the opening of Richard Wagner’s four-part The Ring of the Nibelung.
The arts communities of Dallas—like many art communities across the country—are prone to tribalism, which plays out across disciplines, geographies, ethnicities, career stages, education levels, politics, and incomes.
Two exhibitions dedicated to the life and works of the 20th-century Spanish Modernist sculptor Eduardo Chillida (1924-2002) are on view at the Meadows Museum through June 3.