I meet Natasha Bowdoin for breakfast tacos a few days after the opening of her installation Sideways to the Sun at the Moody Center for the Arts at Rice University (on view through May 18).
The plays change but the players remain the same: Such is the model of a resident acting company, a group of artists who create theater together as a team.
A festival celebrating arch-Romantic composer Robert Schumann. Spotlights on Richard Strauss, master of orchestral tone-painting, and today’s John Adams. A pairing of dramatic but little-known choral works by Felix Mendelssohn and Gustav Mahler.
Up-cycled dresses on mannequins, paintings of deconstructed tracksuits, and massive lengths of cloth made with consumer technology fill the upstairs of the Contemporary Arts Museum Houston.
Thanks to Welch’s love for the music, he and the company are about to unveil their first staging of the mythology-based work, which premiered in a luxe Paris Opera Ballet production in 1876. Sylvia, the tale of a shepherd’s love for a forest nymph, is the first of four full-length story ballets that Houston Ballet has in store from now through June. The coming ones include the other great beneficiary of Delibes’ gifts, Coppélia.
I visited ceramicist Angel Oloshove at her studio in the Houston Heights to talk about her process, what’s on the horizon, and how she got to where she is.
“She played with a fine fury all evening, and her bow was a rod and a staff for the comfort of Nespoli,” lauded music critic Hubert Roussel, writing for the Houston Gargoyle.
At the MFAH’s Houston Iranian Film Festival, now in its 26th year, the seats are always full. The festival, established by the MFAH and Rice Cinema, runs Jan. 18-26, with screenings at both venues and at Asia Society Texas Center.
In five sections, Contesting Modernity surveys twenty years of work in Venezuela by numerous artists, some of whom a Houston audience will already know from curator Mari Carmen Ramírez’s extensive catalog of groundbreaking, research-driven exhibitions at the MFAH.