Houston audiences will get a rare glimpse into the Bayou City’s pre-boom, Jim Crow-era art scene when the exhibition Planned, Organized and Established: Houston Artist Cooperatives presents paintings and ephemera from two 1930s collectives—one white, one black.
For the first time at Dallas’ iconic Nasher Sculpture Center, curators have allowed for a physical alteration of the building: removing two rows of the site-specific oculi in the ceiling of the Renzo Piano structure.
Houston’s Horse Head Theatre company has a reputation for staging intriguing and occasional avant-garde contemporary plays in nontraditional and even bizarre venues, from the back porch of a bar to a geodesic event dome on the banks of Buffalo Bayou.
It's the first time Matthew Dirst, Founder and Artistic Director of Houston's leading early music ensemble Ars Lyrica, has programmed an entire season of music focusing on women.
“We always felt that this was a clubhouse for a group of friends who felt like we were a little bit off,” he said. “We still feel a little off and we still want to be that clubhouse, that space for people like us who feel a little off. We have to find another way to do that now.”
The conductor nearly chickened out. Planning the concert that will open the River Oaks Chamber Orchestra’s 2017-18 season, Vladimir Yampolsky suggested a rarity: the Symphony No. 2 by Kurt Weill of Threepenny Opera fame. Then he wavered.
Dallas dance-lovers are proud that a dance-centric presenter like TITAS Presents exists in their city—and they should be. Executive Director Charles Santos is famous for his eye for up-and-coming troupes, as well as showcasing international groups.
“What are you working on?” asked Anis Shivani, a Texas poet, novelist, pundit and provocateur. “A story called ‘The loneliness of the arts writer’,” I replied. “All artists are lonely,” he shot back. “Maybe so, but arts writers are the loneliest,” I said.
As printmaking shows fan out across Houston over the next few months, visitors to PrintHouston 2017—a multivenue array of exhibitions and events highlighting a range of traditional and experimental techniques—it’s worth remembering that fewer than eight years ago, the Bayou City’s printmaking scene left a lot to be desired.
What do we mean when we talk about Latina/o theater in Texas? This was the question I kept pondering at the beginning of yet another one of the wandering/mapping jaunts I occasionally take when I find myself yearning to exploring more Texas theater.
Contemporary art lovers have until July 9 to see more than two dozen of Katherine Bernhardt’s colorful, large, curious paintings on canvas and paper at The Modern Art Museum of Fort Worth.