Houston audiences will get a rare glimpse into the Bayou City’s pre-boom, Jim Crow-era art scene when the exhibition Planned, Organized and Established: Houston Artist Cooperatives presents paintings and ephemera from two 1930s collectives—one white, one black.
It’s difficult to imagine a time when all professional theater in the country emanated from New York. It might be even harder to believe this centralization of theatrical production first began to change in Dallas, Texas.
Jusepe de Ribera, a Spanish Neapolitan artist who spent his early career in Rome and went on to become one of the most important Caravaggesque painters, influencing Salvator Rosa and others, drew a lot, according to contemporary accounts, one of which held that “the tablecloth on Sunday was the drawings he had made during the week.”
Museums are ultimately defined by the distinctiveness of their collections. With a constantly growing diverse selection of art, Dallas’ new Museum of Street Culture challenges the idea of what a museum can be, positioning itself at the crossroads of social purpose and culture.
What do we mean when we talk about Latina/o theater in Texas? This was the question I kept pondering at the beginning of yet another one of the wandering/mapping jaunts I occasionally take when I find myself yearning to exploring more Texas theater.
Usually, when we introduce an artist in a piece of writing, we write “singer” or “composer” and then their name, but the list of things Amina Claudine Myers does and has done is too extensive to be filed under one, two, or even three labels.
Olafur Eliasson is a Danish-born artist who has presented his installations and socially-riveting interventions around the world including The Weather Project at the Tate Modern, Blind Pavilion at the 50th Venice Biennale, and New York City Waterfalls in New York City.