It all began in the trunk of a car. George Hawkins, lean and possessed of a mega-watt smile, spent the 1960s and the early 1970s captivated by the African-American Theater Movement.
In Lewis Carroll’s Through the Looking Glass (1872), the heroine Alice holds a mirror to the inverted words of “Jabberwocky” and realizes she has entered a mirror world. The quote also serves as an entry point to the Blanton Museum’s upcoming exhibition of Book from the Sky by artist Xu Bing, on view through Jan. 22.
Downstairs at the Contemporary Arts Museum Houston, the Zilkha Gallery is a cold space. When it’s empty, the bare white walls and concrete floor can make it feel like an icy cavern buried deep in the Tundra. It’s a suitable place for flow, the latest in a series of site-specific installations by Jae Ko called Force of Nature, on view through September 18, 2016.
The River Oaks Chamber Orchestra isn’t planning a Fourth of July concert, but maybe it should. The tradition-busting group has declared its independence -- from the classical hit parade. Scan the group’s programs for 2016-17, and you’ll see nothing that rank-and-file concertgoers would find familiar.
In Dallas, a generation of young playwrights is beginning to flex dramatic muscle in pursuit of social change, pushing their work past the impulse to create art for art’s sake.
With two room-size installations and a selection of recent sculptures and reliefs, Matthew Ronay’s work ranges across botany and biology, anatomy and bodily systems, performance and sculpture, natural phenomena and psychology.
“We look around the world we live in, at topics that are relevant in the news, our civic life, in the culture as a whole,” Kevin Moriarty, Artistic Director of the Dallas Theater Center tells me when I ask him how he and his team begin to conceive a season.