In Heinrich Hoffmann’s 1845 children’s book Struwwelpeter, a little boy is warned by his mother to stop sucking his thumbs, lest they be cut off by a scissor-wielding, red-legged tailor.
The art scene in Dallas has long been influenced by avant-garde women: From the The Betty McLean Gallery, which opened in 1951 as one of the first modern art galleries in Texas, to Valley House Gallery, founded by Peggy and Donald Vogel, to the visionaries of today who show no signs of slowing down.
The first time Yekwon Sunwoo vied in the Van Cliburn International Piano Competition, the judges eliminated him after the opening round. Looking back, the South Korea native made no excuses. “I just wasn’t ready,” he recalled.
Brooklyn-based artist Graham Caldwell’s exhibition Glimpsed Through Liquid, his first at Circuit12 Contemporary in Dallas’ design district, fills the space with serial glass sculptures, spanning nearly two decades.
When Jeffrey Schmidt began planning his first season as artistic director of Theatre Three, he considered opening with Andorra, Max Frisch’s highly charged political play about collective bigotry.
It would be beating a long-dead horse to proffer any remark on the dearth of new music being performed in classical circles, a fact of which Elizabeth McNutt is well aware.
Audiences rarely flock to exhibitions about 18th century European art with the enthusiasm shown for Impressionism and ancient Egypt, but the Kimbell Art Museum is hoping Casanova: The Seduction of Europe, on view Aug. 27 through Dec. 31, will change that.
A captivating exhibition of over 150 prints drawn from the National Gallery of Art in Washington, D.C. has quietly opened at the Dallas Museum of Art as if it flew in under the radar.