If 2020 into 2021 was the ultimate annus horribilis, the year really became the worst of times for that most ephemeral and impermanent of arts, live performance.
Bushman and three other San Antonio musicians—pianist Daniel Anastasio, cellist Ignacio Gallego and violinist Sarah Silver Manzke—joined forces in 2018. To symbolize their group’s roots in the city, they dubbed it Agarita, taking the name from a shrub that’s native to San Antonio and the Hill Country.
We’re still holding our breath, knocking on a forest full of wood and sacrificing chicken-shaped tofu to Dionysius, but it looks like in-person, inside-an-actual-theater, theater will finally take the stage this fall.
On view at San Antonio Museum of Art (SAMA) from June 11-Sept. 5, the expansive exhibition America’s Impressionism: Echoes of a Revolution, co-organized by the Brandywine River Museum of Art in Pennsylvania, the Dixon Gallery and Gardens in Tennessee, and SAMA, brings together 62 works from a wide range of public and private collections.
For those hoping to experience art beyond sedate viewing, San Antonio’s McNay Art Museum brings Texas an exhibition that defies boundaries with Limitless! Five Women Reshape Contemporary Art, (on view through Sept. 19)
“Migration is beautiful.” These are the words the viewer reads upon entering the San Antonio Museum of Art’s newest exhibition, No Ocean Between Us, on view at the San Antonio Museum of Art Feb. 12-May 9, 2021.
Sometimes LOVE is all-consuming. Nowadays, Robert Indiana’s iconic LOVE artworks—with their clunky capital L and tilted O stacked over the V and E—are everywhere.
Standing six-foot-six, sporting a luxuriant silver mane and beard, decked out on formal occasions in flamboyant capes, he turned heads from Texas to New York.
As the United States closed its skies on September 11, 2001, thousands of plane passengers found themselves in midair over the Atlantic with only one place to land—the airport near the small town of Gander, Newfoundland.
San Antonio’s McNay Art Museum operated for decades with a major gap in its holdings. “When you think of all 20th-century art, the U.S. made two huge contributions to the canon,” says Lyle W. Williams, the McNay’s curator of prints and drawings.