Colorful and Kooky As Ever, Art Car Ball and Parade Put the Pedal to the Metal

Emily Jaschke
Colorful and Kooky As Ever, Art Car Ball and Parade Put the Pedal to the Metal

The 'Lisa Crank' crew

AFTER A TWO-year hiatus, the Art Car Parade returned to the streets of Downtown, a beloved weekend-long event punctuated by the colorful Art Car Ball.


The largest event of its kind in the world, the Orange Show's Art Car Parade showcased more than 250 vibrant vehicles decked out from bumper to bumper. A sneak peek at Discovery Green hosted nearly 100 Art Cars and featured music by Ten Patrick as part of the park's Thursday-night concert series. The following night, the Legendary Art Car Ball took place at the Orange Show World Headquarters, where illuminated mobile masterpieces and multiple bands provided electric entertainment all evening long.

Saturday's main event kicked off with a festivities at the starting line. Many migrated over to the VIPit at Hermann Square for cocktails and light bites (and ample shade!) before the displays began rolling through Downtown.

Last year's parade became a parking-lot event at the Orange Show's five-acre campus, with staggered entry times to promote social distancing, and a maze of showpieces accompanied by QR codes so revelers could give themselves a self-guided digital tour.

“Rising Strong” by the Waters family

The Free Rads Street Band

Keri Henry

Paul Middendorf, Cat Nguyen, Zeina Hussein, Matt Bradshaw, Scott Yoder and Andrew Tharp

“Carlagio” by Chris and Tom Reinsvold

Golden Dawn Arkestra

Kam Franklin

Jeff Shell

Jeff Cooney and Maggie Flecknoe

Mayer and Benjy Levit

Anna Grace Mandola, Michael Mandola, Gia Mandola

Miya Shay and Brett Birkinbine

Melissa Dobrowski and Katherine Gillman

Jose Ocque and Stuart Rosenberg

Parties

Isabel Wallace-Green (photos by Kent Barker and Xavier Mack)

HOUSTON-BORN DANCER AND arts educator Isabel Wallace-Green vividly recalls seeing a performance of Alvin Ailey’s landmark 1960 dance work Revelations as a child, peering over a high balcony in Jones Hall. “The dancers were pretty small!” laughs Wallace-Green, who nevertheless was captivated, especially by a section in Revelations titled “Wade in the Water,” where translucent white, cobalt, and aquamarine cloths are stretched across the stage to evoke baptismal waters and — for African American slaves — the riverbed as a pathway to freedom. “I’d never seen anything like that.”

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