Art Education

Rice’s Moody Center bows, with a forward-thinking notion of experiencing the arts and academics together.

For web
For web

With an inventive design intended to stimulate a sense of endless possibilities, Rice University’s just-opened Moody Center for the Arts does exactly that with its robust inaugural season. One of the first such non-collecting art-exhibiting institutions in the world, Moody aims to promote interdisciplinary art.


Pedestrian paths connect Rice’s campus to the $30 million natural-light-filled center, which is free and open to the public. While the iconic structure is itself a work of art — the two-story building designed by Michael Maltzan boasts an amphitheater-style common area and incorporates bold, geometric shapes and a geometrically textured brick façade —  the focus on integrating art and academics is not forgotten, with a functional design that offers easy access to studios and classrooms.

The Michael Maltzan-designed Moody Center for the Arts and, above, Tokyo-based teamLab’s installation ‘Flowers and People, Cannot be Controlled but Live Together – A Whole Year.’

The impressive inaugural rundown includes Danish-Icelandic sculpture artist Olafur Eliasson, German photographer Thomas Struth, and American writer-artist Diana Thater. The institute also welcomes its first artist-in-resident, Mona Hatoum, a Palestinian video artist who just exhibited at the Tate Modern.

“We’re honored that so many world-renowned artists will be joining us,” says executive director Alison Weaver, “both to present their work and to use the Moody as we’ve envisioned it: as a platform for creation and interaction.”

Uncategorized

Photo by Lynn Lane

HOUSTON GRAND OPERA’S second fall repertoire production is Gioachino Rossini’s Cinderella. The colorful, commedia dell'arte-inspired production opens Friday, Oct. 25, and stars Grammy Award-winning mezzo-soprano Isabel Leonard — a breathtaking brunette beauty, even when doused in soot — in bel canto role of Angelina, known to her mean step-sisters as “Cenerentola.”

Keep Reading Show less
Art + Entertainment

BRETT MILLER WAS just 10 years old when his parents took him to a screening of the 1925 silent film, The Phantom of the Opera, starring Lon Chaney as “The Phantom” of the Paris Opera House, with an accompanying soundtrack played live by an organist. The film contains one of the most famous “reveals” on celluloid (We won’t give it away!) and is all the more shocking when accompanied by live music played on the Phantom’s favorite instrument.

Keep Reading Show less