During the height of the streamed performing arts portion of the pandemic, I thought a lot about the difference between being a viewer and an audience member.
The Tobin Collection of Theatre Arts contains artifacts dating back centuries, and its exhibitions sometimes revel in that broad historical panorama. But The Great Stage of Texas, running through July 24 at San Antonio’s McNay Art Museum—the collection’s home—could hardly be more contemporary.
After a shortened 2021-22 season, TITAS/Dance Unbound is roaring back for its first full, live season since the pandemic. That’s 10 companies, hailing from four countries, with five making their Texas debut.
Palabras Vacias, which means “Empty Words'', is on view at SMU’s Meadows Museum through June 26, a minimal contemporary installation in an institution more often associated with the gilded frame than the white cube.
More than twenty years after his death, his legacy will be honored in the retrospective, Octavio Medellín: Spirit and Form, on view at the Dallas Museum of Art, Feb. 2, 2022- Jan. 15, 2023.
“There are many Black people who feel like art is not their space…it’s been really great to have shows where people come who might not typically engage with the art. Where they can be seen in a special way.”
In the three years that Sage Studio has showcased artists with disabilities—helping its roster develop and sell their works, much as ordinary galleries do—Austin’s art scene has embraced it, co-founder Lucy Gross says.
Brett Ishida, a California transplant to Austin, is bringing her new Austin-based contemporary dance company ISHIDA to the stage for the company’s first evening-length production since the pandemic began.
The dance company Pilobolus has many missions: to tell stories with the human form, to test the limits of human physicality, to explore the beauty and power of connected bodies.