This Friday, will Rice President David Leebron pose for a photo with the vice president of the United States, or will he stand outside with his students? Leebron has articulated a broad set of Rice’s values, but Mike Pence’s record contrasts sharply with that set of values.
In 1904, before the dawn of their fame, Pablo Picasso and Albert Einstein meet in a crowded Paris bar and start arguing. Thus begins Picasso at the Lapin Agile, an absurdist comedy being put on by the Rice Theatre Department.
Rep. Dan Crenshaw (R, TX-2) won’t pay his interns — and it’s because he thinks they are unworthy of pay.
The last six panels of the comic are painted large on the walls of the side-gallery. In the center of the room is a small chamber, the entrance (or, as Hancock has playfully scrawled, “In Trent’s”) of which faces away from the gallery’s door; a sort of inner sanctum, it contains the comic’s other thirty-nine panels.
Cheryl Donegan’s first American painting exhibition, “GRLZ + VEILS,” is currently showing at the Contemporary Arts Museum of Houston, and you don’t want to miss it.
The Jung Center, nestled next to the Contemporary Arts Museum Houston, is a Museum District gallery founded to promote the ideas of Freud disciple and psychotherapeutic giant Carl Jung.
The play, produced by, directed by and starring Rice students, gained a full production after winning the Rice Players’ first-ever Playwriting Competition. (The Rice Players gave stage readings of two runner-ups, Kevin Mullin’s “Have You Seen My Cactus?” and Elsa Schieffelin’s “The History of Flight,” during the Rice Playfest from Nov. 9 to 10.)
The performance art show “Dimensions Variable” was held Oct. 27 in Matthew Ritchie's “The Demon in the Diagram,” a sprawling exhibition currently occupying the entirety of two galleries in the Moody Center for the Arts. The 40-minute piece, produced by the Hope Mohr Dance troupe and composer Evan Ziporyn, was intended to use dance to elaborate on the message of Ritchie's piece.