Making Dallas Even Better
After a night of terror and tragedy downtown, our city unites to mourn and pray.
The stand-up comic, who you may or may not recognize from his role on the new Netflix show Grace and Frankie, is making a weeklong stand in Fort Worth, performing his own comedy and bringing up other comics for a workshop to demonstrate how the stand-up sausage gets made, as it were. He's been doing comedy since long before he made it to TV (or online streaming services, anyways) and that's still where his humor is strongest.
Written by British playwright Nick Payne, this two-hander tells the love story of Roland, a beekeeper, and Marianne, a physicist. This is classic boy-meets-girl story, but with a series of twists. The play explores the idea of the infinite possibilities of how a moment can play out. It plays moments over and over again and explores how things may have been. The blueprint for Constellations is this, as explained by the character Marianne: "every decision you've ever and never made exists in an unimaginably vast ensemble of parallel universes." This play goes deep fast, promising to make you think, while intimately exploring the relationship of Marianne and Roland.
Sedrick Huckaby’s The 99%, more than 100 portraits of people living in the Fort Worth artist’s neighborhood, will help anchor this exhibition alongside conceptual artist Glenn Ligon’s Runaways, a series of lithograph prints inspired by 19th century ads used to identify escaped slaves. Each explores the concept of identity, and how it is defined by both individuals and the community they are a part of.
Modern Art Museum of Fort Worth chief curator Michael Auping faced a daunting challenge in organizing the exhibition Frank Stella: A Retrospective (which opens April 17 and runs through September 18). On the one hand, there is an inherent evolution to the way Stella’s career unfolded. But put all the work together, and it is not easy to take in. Starting in the late 1950s, Stella began painting serial groupings of striped, sometimes shaped canvases. As the decades rolled by, the paintings became more geometrical and bold, then grew in scale and scope while seemingly trying to break free of their wall supports. At the Whitney Museum of American Art, where the collection debuted last October, Stella’s pieces didn’t simply dialogue with the other works in the room—they leered around corners and demanded introductions. All told, it felt like a bit of a circus. It will be interesting to see how Auping fits it all under the Modern’s elegant big top. —Brandon Kennedy
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