As museums today compete for social media attention, Dallas Contemporary currently finds itself pulling ahead of the pack thanks in no small part to Paola Pivi’s Ma’am (on view through August 21).
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.
Fun is a quality sadly lacking in much contemporary art, but Brazilian artist Rivane Neuenschwander showers viewers with giant colored discs of confetti at the Linda Pace Foundation’s SPACE.
In the spring of 1921, the recently established Dallas chapter of the Ku Klux Klan kidnapped Alex Johnson, a black Adolphus Hotel elevator operator. He was driven to an isolated location, whipped, had the initials KKK burned into his forehead with acid, and then forced to walk naked and bleeding into the Adolphus lobby.
Barry Whistler Gallery was a fixture in Deep Ellum for nearly 30 years so it may have come as a surprise when Whistler decided to move his gallery to the Design District during the first week of May.
A subtle grief—and equal joy—lives in the heart of writing by Texas authors. Texans are known for our pride, but the reality is the term “Texan” carries hidden baggage.
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.
In celebration of the American sculptor Joel Shapiro, the Nasher Sculpture Center, which holds six examples of his work in their permanent collection, has unveiled a new piece specifically designed for the central gallery on the ground floor.