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.
“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.