Everything to Know About This Weekend’s Bayou City Art Festival! (Hint: It’s Bigger and Boozier Than Ever)

Robin Barr Sussman

HARD TO BELIEVE it’s been 50 years. What once was a small art show in a wooded park has grown to feature 300 artists from around the country representing 19 different disciplines, live entertainment and food and beverage options. The Bayou City Art Festival, produced by the Art Colony Association, Inc., returns to Memorial Park for its 50th anniversary. The weekend-long event (March 25-27, 10am-6pm) benefits six local nonprofit partners, and this year’s fest ushers in new and interactive happenings for the whole fam.

Symphony Bids Adieu to Orozco-Estrada, Celebration Concludes with a ‘Startling’ New Concerto by Jazz Legend

Chris Becker

“ANDRÉS FEST,” A two-week celebration honoring the eight-year tenure of Houston Symphony Music Director Andrés Orozco-Estrada, concludes this weekend (March 26-27) with two concerts featuring the Texas premiere of Wynton Marsalis’ Concerto for Tubist and Orchestra.

In MFAH’s ‘Extraordinary Realities,’ Pakistani Painter and Glassell Alum Invites Viewers to Confront Biases

GIVEN PAKISTANI-BORN artist Shahzia Sikander’s deep connection to the city, it makes sense that the Museum of Fine Arts, Houston is the final stop for her retrospective, Shahzia Sikander: Extraordinary Realities. The critically acclaimed exhibit, which opened Sunday and is on view through June 5, is a visually sumptuous summation of 15 years of work by Sikander, whose art questions and subverts the viewer’s assumptions regarding ethnicity, gender and history. Interestingly, in several works, Sikander casts that critical eye upon herself, “the artist."

A detail of Konoshima Okoku's 'Tigers,' 1902

THROUGHOUT THE HOT — and hopefully hurricane-free — months of summer, visitors to the Museum of Fine Arts, Houston can step through a portal and experience another era with Meiji Modern: Fifty Years of New Japan, on view through Sept. 15.

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Jacob Hilton a.k.a. Travid Halton

THERE IS A long recorded history of musicians applying their melodic and lyrical gifts to explore the darker corners of human existence and navigate a pathway toward healing and redemption. You have the Blues and Spirituals, of course, which offer transcendence amid tragedy in all of its guises. And then there’s Pink Floyd’s The Wall, Frank Sinatra’s In the Wee Small Hours, and Beyoncé’s Lemonade, three wildly divergent examples of the album as a cathartic, psychological, conceptual work meant to be experienced in a single sitting, much like one sits still to read a short story or a novel.

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