What is theater that doesn’t reflect contemporary realities? What kind of life can theatrical storytelling have if it doesn’t exist within the world it’s born into?
In the current FOCUS series of exhibitions at the Modern Art Museum of Fort Worth, abstract paintings by the African American painter Stanley Whitney are on view through April 2. This solo show is his first in Texas.
The Co-Work Space for Potential Dropouts, which will occupy SMU’s Pollock Gallery through March 11, is a project by the artist Avi Varma and curated by Pollock Curatorial Fellow Sofia Bastidas.
Francisco Courcelle may not rank as a big-name composer. But his Misa Ave Maris Stella, a dramatic chorus-and-orchestra work from 1750, has become a go-to piece for Dallas’ Orchestra of New Spain.
Forty years in the business – that fact has quietly crept up on Dallas Black Dance Theatre founder Ann Williams. “You don’t see what you’ve accomplished because every day you’re trying to make it happen,” says Williams, who has spent half of her life making it happen at the longest-running dance company in North Texas.
When they were students at Southern Methodist University in the 1990s, Michael Trusnovec and Annmaria Mazzini would hole up in the basement of the library obsessively watching videotapes of the Paul Taylor Dance Company.
Experimental plays and intimate dramas set in homes typically belong in black box theaters. The nuance and detail of these productions cannot be captured in larger theaters.
Given the centrality of immigration to the 2016 election and Texas’s status as a red state with an ascendant Latino population, this summer’s announcement that the Dallas Museum of Art had hired Agustín Arteaga, a museum director in Mexico City, and that he would be moving, with his husband, to the Lone Star State to run the Dallas Museum of Art, was bound to turn heads.
An exhibition on the development of modern art in Spain from 1915-1957 recently landed at the Meadows Museum on the campus of Southern Methodist University.
Dallas has a complicated relationship with its river. At various points in a century and a half of more or less official existence we’ve tried to transform the Trinity into an inland port, we’ve pretended it didn’t exist, and we’ve literally moved it, and now people and organizations, both public and private, are attempting to reclaim it.
Six paintings by as many artists comprise Abstract Texas: Midcentury Modern Painting, which remains on view through Oct. 7, 2017 at the Amon Carter Museum of American Art.