At Dress for Success and Women of Wardrobe's annual Summer Soiree, generously hosted by Tootises, fashion-forward attendees dressed in pretty pastels, bold patterns and lots of ruffles — many designed by Houston's Hunter Bell, who showed off her fall line alongside jewelry by Claudia Lobao. Chairs Karishma Asrani, Courtney Campo, Allie Danziger and Melissa Sugulas welcomed guests to the event, which toasted the 20th anniversary of Dress for Success, and raised more than $20,000 for the org.
In Homecoming Show, Isabel Wallace-Green Dances Her Way Back to Jones Hall with Alvin Ailey Company
Mar. 4, 2024
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.”
Now based in New York as a member of Alvin Ailey American Dance Theater, Wallace-Green is looking forward to her first Houston performance with the company March 7-9 at Jones Hall, the same venue where she first witnessed Ailey’s genius. “It’s always special to come back to Houston, especially since it’s a place that fostered me and set me in motion to do what I am doing now,” says Wallace-Green. “I’m so grateful for all of the communities I was a part of, and to be able to return to that is very full circle.”
Those communities include Houston Ballet Academy, where she trained for nine years, and studied with Cheryne Busch as her primary instructor. Wallace-Green cites Lauren Anderson, the first Black principal dancer at Houston Ballet, as a role model whose presence and accessibility affirmed that a career as a Black ballerina was not unusual or unattainable. “Her expertise and her demanding excellence was the greatest motivator,” says Wallace-Green of Anderson’s instruction. “I understood if you worked hard, that it was achievable.”
Revelations is on the bill for all three of the Houston performances, along with contemporary works by Ronald K. Brown, Alonzo King, Kyle Abraham, and Jamar Roberts set to music ranging from Duke Ellington, Drake, Erykah Badu, Radiohead, and experimental composer Miguel Frasconi. (Revelations has retained its score of powerfully sung traditional spirituals, which recall Ailey’s childhood church-going experiences in rural Texas.)
For Wallace-Green — who is also a talented choreographer, and premiered her solo Resilience at UH’s Blaffer Art Museum in response to Jamal Cyrus’ exhibit, The End of My Beginning — the creation of new repertoire is just as important as maintaining a connection to classics like Revelations. “That’s why I love to be a part of a repertory company where we get to do so many different types of movement,” says Wallace-Green. The new and the old help nurture a more inclusive and forward-thinking dance community.
Revelations is the rare work that audiences applaud before any movement or music begins. For Wallace-Green, it is nothing less than “a celebration of humanity,” shared from an African American perspective, but rooted in basic human experiences, from tragic to joyous, that anyone, regardless of their identity, can relate to. “It has something that really pulls at us as human beings,” says Wallace-Green. “By the end of it, audiences are so excited and on their feet, clapping along with us while we’re dancing.”
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FOR ANNA SWEET, the hunger for sugar, carbs, and fat is much like the art world’s hunger for art — especially art made by attractive, colorful, larger-than-life individuals.
With her movie-star-meets-punk-rock-platinum blond hair, Sweet (the surname is real) is certainly all that and a bag of donuts. But within her glamorous Instagram-worthy persona beats the heart of an artist, whose working-class roots and formidable work ethic continue to inspire her meticulously crafted, double-edged artwork.
Sweet’s hand-sculpted “DotNut” sculptures, each dripping with Day-Glo frosting, covered in sprinkles and other surprises, and mounted on wooden panels in uniform patterns, are available at Avant-Art Gallery. They’re delectable, a bit weird, and speak to her mixed feelings about the art world.
“I wanted to see what else I could do and push myself and have more meaning in my work,” says Sweet of the DotNuts — an unexpected pivot for a highly successful photographer whose underwater images of scantily clad women frolicking beneath the waves inspired hundreds of imitators.
After encountering artist Damien Hirst’s stupefying, million-dollar-selling “spot” paintings, each consisting of hand-painted colored circles symmetrically arranged against a light background, Sweet pondered the difference between price and the value of art, and decided donuts were far more intriguing than spots. But they’re a lot harder to make than you might think. “It’s not something you can just search for on YouTube and figure out!” says Sweet of the process, which she perfected after much trial and error, and ultimately wishes to keep secret for fear of being copied.
Sweet will say each inimitable donut is sculpted by hand, after which a mold is created and injected with different materials, depending on whether the final work will stand alone or be mounted as part of a grid. She’s also created a series of translucent Pooh-bears, their tummies bulging with DotNuts. “The yummy bear is the art collector,” says Sweet.
As one of nine children raised by a single mom who supported the family by restoring and selling paintings and antiques, Sweet endeavored to do the same for herself and her loved ones. Now 36, married, and the mother of two daughters, her hard work has paid off. “I’m creating to create,” says Sweet. “Now that I can afford to sit back a little bit, I feel like I’m starting to grow up as an artist and realize what I’m capable of doing.”
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