Two gallerists have set up shop over the last year on the Houston scene: Cindy Lisica of Cindy Lisica Gallery, and Sarah Sudhoff of Capsule Gallery Cindy Lisica Gallery joined the 4411 Montrose cluster alongside Anya Tish Gallery, Barbara Davis Gallery, David Shelton Gallery, and UNIX Gallery, while Capsule Gallery is located in the Isabella Court complex in Midtown, with neighbors Inman Gallery, Kinzleman Art Consulting, Samara Gallery, Art Palace and Devin Borden Gallery.
“I’m not a sarcastic painter,” Marcelyn McNeil tells me near the end of our conversation in her east Houston live/work space. She has just finished explaining the title of her upcoming solo effort at Dallas’ Conduit Gallery. Love and Theft, on view Sept. 10-Oct. 15, is a nod to her commitment to the old-school practice of painting and an acknowledgment of the constant appropriation and regeneration of formal abstraction in today’s teeming art world.
On view at the Menil Collection through Oct. 16, As Essential As Dreams: Self-Taught Art from the Collection of Stephanie and John Smither borrows its title from the idea that the desire to create and collect is a deeply rooted human instinct.
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.
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.
In traditional versions of Giselle, the worlds of the living and the dead are separated by an intermission, each confined to its own act. In Houston Ballet’s brand new version, at Wortham Theater Center by Artistic Director Stanton Welch, the worldly and the ethereal overlap to come full circle.
“Casual elegance” is a phrase too often bandied about by women’s clothiers and wine marketers, who would have you believe that it is something that can be purchased or assumed as a posture. For something to be “casually elegant” its level of refinement must be so high that it has become habitual, and only appears casual.