“It’s very much like a drawing,” Sheila Pepe began. “Things are drawn, laid down, erased, moved. It’s all influenced by the architecture of the space.”
Air travelers nationwide were grumbling about lengthening lines at security checks. A federal transportation official was getting the boot over it that very day. But in the atrium near William P. Hobby Airport’s departure gates, nobody looked stressed.
When Kelli Estes planned her first season for Houston’s Lone Star Lyric Theater, the company she founded back in 2006, she was actually in living New York City and not Houston.
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.
The blocks between 900 and 1100 Main Street are traveled by many Houstonians on their daily commute, but they constitute an inconspicuous corner of Houston.
On a sunny May afternoon, I found myself spellbound, watching Houston Ballet principals Yuriko Kajiya and Connor Walsh rehearse the very first meeting between Giselle and Albrecht.
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.
In the current round of exhibitions at Project Row Houses (through June 19), there is an uneasy relationship between the visual material and the political work.
A long excerpt of a diary is pinned to the wall in the Asia Society Texas Center's current exhibition,We Chat: A Dialogue in Contemporary Chinese Art, on view through July 3.