The Harry Ransom Center at the University of Texas at Austin has announced a major coup: It’s acquired the archive of renowned artist Edward Ruscha ...
Before they head to Lincoln Center in New York in January, the Rude Mechs delivered the drunken punch to the face that is Fixing King John, at the Off Center.
Sometimes when a piece of theater challenges me, I look for answers in the play’s title. So soon after seeing the Mildred’s Umbrella regional premiere of Carnival Round the Central Figure, I sought meaning from carnivals.
Adams, who splits her time between New York and Parma, Italy, has spent her career instilling passion in viewers with her colorful, abstract paintings, prints and gouaches, linking contemporary life and universal patterns.
One of the highlights of the Museum of Fine Arts, Houston’s fall season is a small but highly pleasurable traveling exhibition devoted to the work of Viennese design-guru, Koloman Moser (1868-1918), who was trained as a painter but worked extensively in graphics, ceramics, textiles, furniture, glassware, jewelry, and metal.
Lots of soul searching has been done around questions of it means to be a photographer – or an artist whose practice includes photography – in an image-saturated era when few people are ever without a camera close at hand.
For the first time in its history, Conduit Gallery has devoted its entire space —two large rooms and a small project gallery — to the work of a single artist.
Gazing at Linda Pace’s Orange Crush is like flying over a monochromatic landscape of childhood – stuffed Elmos and other Sesame Street characters, Halloween pumpkins, teddy bears, plastic toys, soda cans, baby angels, and boxes of Tide.
Leave it to Austin’s maverick troupe, the Rude Mechs, to tackle Shakespeare’s “problem plays.” Even the Bard’s esteemed canon contains a few duds, and in the new bi-annual series, Fixing Shakespeare, the Rude Mechs attempt to slice and dice these plays into more contemporary, and perhaps more palatable, shows.