SMU professor Willie Baronet has been buying handmade signs from panhandlers for 23 years. In recent years, he made them into art installations in Dallas galleries. After a cross-country, 24-city trip, he’s now working on a book and a feature-length documentary.
Archive: 'Arts Funding or Budgets'
An occasional series of updates. You probably don’t remember Dan Knechtges, William Deresiewicz and eighth blackbird, but they won awards in Dallas or worked here on notable shows, and now they off doing something else also worth noting.
Only two years ago, the Dallas Opera was hurting so bad, it had cut its season down to three shows. This season it’s back up to five, and the company’s $15 million budget is balanced. Again.
Yep, Nasher’s artist-in-residence has won the MacArthur Foundation fellowship, the so-called ‘genius’ grant. Lowe’s work combines art with social policy and over a year he developed art galleries and markets in the Vickery Meadow neighborhood.
Maria Munoz-Blanco, who’s been with the City of Dallas, since 2005 is leaving OCA for a new job. She helped open two new arts facilities and ran an award-winning public art program at Love Field.
Crystal Bridges – the stunning art museum in Arkansas funded by a Wal-Mart heir – takes a stab at summing up the current American art scene with more than 200 artworks from 44 states. Whatever else it is, State of the Art is ambitious.
Six small theater and dance companies are headed to the sixth-floor Studio Theatre in the Wyly. Each has a one-shot show between now and spring. Is the Elevator Project going to take them anywhere?
Neiman’s flagship store in downtown Dallas has been showcasing something in its windows other than high-end fashions. Works by local artists – courtesy of Oil & Cotton.
Fort Worth passed a nearly $300 million bond package. Three and a half million of that is going for public art projects. The money is in the pipeline, how it’ll be used is still being discussed.
The Met Opera’s general manager Peter Gelb has said simulcasts are simply not drawing younger audiences the way they hoped, while the Dallas Opera’s Keith Cerny says theirs certainly are. Who’s right? They both may be.