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    Through Laura WIlson's Lens

    Famous Dallas photographer uncovers soulfulness of American West

    Kendall Morgan
    kendall Morgan
    Sep 4, 2015 | 11:35 am

    Cowboys stride through the tall grass, faces shaded by the brims of their hero hats. High school footballers stand at attention with all the pride that lights up a Friday night. A girl of the Hutterite faith clad in a checked kerchief gazes across the prairie, resembling nothing so much as a modern-day Christina’s World.

    These glimpses into the wide-open spaces and visages of the American West are what make the photography of Laura Wilson unlike any other. Gathered together in the exhibition “That Day: Laura Wilson,” opening Saturday, September 5, at Fort Worth’s Amon Carter Museum of American Art, these 74 images are “like a series of short stories” to the photographer, ones that expand on her love for both the myth of the West and its contemporary reality.

    The genesis of exhibition, which has a companion book released this October from Yale University Press, began as a series of conversations with SMU Clements Center for Southwest Studies Andrew Graybill.

    “He approached me and asked if I was interested in doing a book about three years ago,” Wilson recalls. “I thought I would have to go out and take pictures, and then I began going through the material in 30 years’ worth of files and thought, ‘My heavens, I already have a book.’”

    As a child growing up in Massachusetts, Wilson was enamored of the romance of the West depicted in the novels, movies, and songs of her generation. Moving to Dallas in 1966, she found the reality to be “not exactly like my imagination. But it was a small town, it was very open, and the people were all very appealing and willing to show things that were of interest.”

    A photographer all her life and a photographic history buff, Wilson had the unique opportunity to explore the territory further when she was hired to assist Richard Avedon in 1979 with his classic In the American West project, an experience she says was “like going from the minor leagues to the majors in one giant leap.”

    Traveling back and forth throughout six summers, she saw enough to know she needed to return. And, through assignments for the likes of the New Yorker, New York Times, and Washington Post, she did.

    “I started thinking about the region in a very serious way,” Wilson says. “I wasn’t trying to debunk any myths. I was trying to show what I was seeing, and some of what I was seeing contributed to the myths, like fighter pilots in Colorado and Nevada that seemed to be an extension of the 19th century cowboy, yet they’re living and working out of the West today. That was interesting to explore.”

    Throughout the years, she realized that the land — and its people — were both fragile and beautiful. Some subjects, like the mountain lion hunters she saw in the Big Bend area, may not exist in their current roles in another generation. Through all of her journeys, the one through-line was the soulfulness found in the faces of all she saw: trick riders, homecoming queens, and border guards alike.

    “I think what struck me in looking back over all this work is I felt so lucky to be exposed to these people,” she says. “They were hard-working, often working with their hands, outside, they care about the environment and the land and the climate, so I was very moved by that. More than one story standing out, it’s the amalgamation of all of them that had the power to resonate with me.

    “I had a rare opportunity to see a variety of people doing so many different things in many places unknown to the rest of the United States.”

    Wilson is quick to note that although “That Day” explores three decades of images, it is most definitely not a retrospective. Instead the show exists as a record of only one — if certainly her biggest — passions. She is planning on two more exhibitions and books on preeminent writers and making movies. The latter allows her to occasionally collaborate with her sons Andrew, Owen, and Luke (yes, the film actors).

    Although her recent work lends itself easily to a museum setting, chasing after exhibitions is never what drove this singular talent. For Wilson, it has been and always will be about the process.

    “I haven’t stopped to do what many photographers do, which is pursue museums or gallery exhibitions,” she says. “I feel like the work is all-encompassing. I want to do the work, and do as much as long as I can. And I’m lucky to be doing it.”

    ---

    “That Day: Laura Wilson” is on view through February 14, 2016, at the Amon Carter Museum of American Art. Wilson presents a free lecture about the exhibition October 1 at 6 pm. Call 817-989-5030 to reserve seating.

    Mullin Bulldogs Starting Six, Democrat, Texas, September 16, 1995.

    Laura Wilson
      
    Photo by Laura Wilson/Courtesy of Amon Carter Museum
    Mullin Bulldogs Starting Six, Democrat, Texas, September 16, 1995.
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    Season Announcement

    Uptown Players Dallas reveals glitter-drenched new season for 2025-26

    Lindsey Wilson
    Apr 30, 2025 | 10:09 am
    Urinetown: The Musical at NYCC Encores
    Photo by Joan Marcus
    A New York production of "Urinetown: The Musical" was produced in early 2025.

    The newly-released 2025-26 season of Uptown Players Dallas comes with a knowing wink behind the titles, with a goal to provide comfort, commentary, and chuckles.

    It's the 24th season for the company, one of the leading regional theaters in the DFW area, with a blend of satire, spectacle, and heartfelt storytelling in five bold productions celebrating queer joy and resilience.

    Highlights include a holiday misadventure, fairy tale revue, the political satire Urinetown, and Paula Vogel’s Mother Play. The season runs December 2025 to August 2026 at Dallas venues.

    It begins with festive flair during the holidays, as Carol Ann Knipple — first seen in 2021's When Pigs Fly — returns forStar of Wonder: A Carol Ann Christmas.

    Micah Green stars in this world premiere, with book and original lyrics by Mark Waldrop and additional material by B. J. Cleveland. After her beloved Melody Barn theater in Minnesota burns to the ground, Carol Ann refuses to give up her dream and relocates her Christmas spectacular to a Dallas stage she doesn’t fully understand. What follows is a merry misadventure of casting chaos, theatrical surprises, and side-splitting parodies, all led by Carol Ann’s blissfully misguided vision and unstoppable spirit. It runs December 5-14, 2025, at the Kalita Humphreys Theater.

    Pure Glitter, a dazzling new comedy by Chicken & Biscuits playwright Douglas Lyons, is a love letter to the shimmering chaos of chosen family and queer friendship.

    The story unfolds during a surprise 10th anniversary bash thrown by Stan for his husband Tony. But when a handful of uninvited guests arrive, the night explodes into a whirlwind of secrets, sass, and unexpected truths. This Texas premiere runs March 20-29, 2026, at the Kalita Humphreys Theater.

    The beloved fundraiser Broadway Our Way returns with a mischievously magical new theme: Fractured Fairy Tales.

    Written and directed by B.J. Cleveland, this all-new musical revue turns “happily ever after” on its rhinestone-covered head, blending Broadway’s biggest hits with a wild world of rogue royals, sassy witches, enchanted misfits, and storybook rebels. Whether you're team villain, fairy godmother, or a prince who prefers heels, this sparkling spectacle promises a magical night of laughter and inclusive storytelling. It runs April 30-May 3, 2026, at the Kalita Humphreys Theater.

    In a city where private restrooms are banned and a corporation controls the most basic human need, a rebellious uprising takes shape in Urinetown: The Musical.

    This fiercely funny, Tony Award-winning satire skewers capitalism, bureaucracy, and environmental collapse, with music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, and book by Kotis. A timely production by Uptown Players will turn a sharp eye on justice, activism, and the enduring power of community to challenge the status quo. For marginalized communities, the musical’s central fight — for dignity, voice, and bodily autonomy — feels deeply personal. It runs July 10-19, 2026, at the Kalita Humphreys Theater.

    Closing out the season is Paula Vogel's Mother Play, which ran on Broadway just last year with Jessica Lange, Celia Keenan-Bolger, and Jim Parsons.

    This raw and resonant semi-autobiographical work by the Pulitzer Prize-winning playwright spans from 1962 to the present, following Phyllis, a fiercely independent single mother, and her two children as they navigate evictions, emotional upheavals, and the fragile balance between love and self-preservation. It runs August 21-20, 2026, at Theatre Three.

    Season tickets are on sale now, with discounts on both premium and regular seating. Season tickets can be purchased online at www.uptownplayers.org or by phone at 214-219-2718. Single tickets will go on sale September 2, 2025.

    uptown playersurinetown the musicalbroadway our waymother playlgbtqtheater
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