DECEMBER 6, 2017 by jenn


Portrait photographer Keliy Anderson-Staley, known nationally for her work using the 19th-century wet-plate collodion tintype process, will make portraits of members of the Midtown Houston community using a tintype photo booth. Visitors can observe this historic photographic process and sit for a portrait. The event is part of Anderson-Staley’s public art project, Shelter in Place, that will be installed in a public space in late 2018. 


Keliy Anderson-Staley was raised off the grid in Maine, studied photography in New York City and currently lives and teaches photography at the University of Houston in Texas. She holds a BA from Hampshire College in Massachusetts and an MFA in photography from Hunter College in New York.

Anderson-Staley’s images are in the permanent collections of the Library of Congress, Cedar Rapids Museum of Art, Portland Museum of Art (Maine), and Museum of Fine Arts-Houston. She was the recipient of a New York Foundation for the Arts Fellowship, a Puffin Grant, a fellowship from the Howard Foundation, the Carol Crow Fellowship from the Houston Center for Photography and the Clarence John Laughlin Award from the New Orleans Photo Alliance. Her work was published in a solo issue of Light Work’s Contact Sheet and has been shown at the National Portrait Gallery of the Smithsonian, Portland Museum of Art, Akron Art Museum, Bronx Museum of Art, Southeast Museum of Photography and the California Museum of Photography, as well as at a number of galleries around the country. In 2016 she completed a major public commission for the city of Cleveland and the Greater Cleveland Regional Transit Authority, producing fifty large-scale portraits for installation in the airport tunnel of the rapid transit line.

Anderson-Staley has been making wet plate collodion tintypes and ambrotypes for eleven years. Her fine art and editorial work has appeared in a number of magazines, including Photo District NewsNew York MagazineArt and AuctionHemispheres Magazine,CameraworkContact SheetConde Nast Traveler, Photograph and Esquire Russia. Online, her work has been featured on Flak Photo,ConscientiousFraction MagazinePetaPixelAhorn Magazine and Daylight Magazine.

Her series of tintype portraits was published in 2014 under the title On A Wet Bough by Waltz Books. She is represented by Catherine Edelman Gallery.


This project is presented by DiverseWorks, with additional support provided by the Houston Arts Alliance and Cynthia Woods Mitchell Center for the Arts at the University of Houston.


SEPTEMBER 26, 2017 by jenn

Join DiverseWorks and choreographer Takahiro Yamamoto on Sunday, October 29th for an evening of food, art and performance centered on the subject of the detour and other influences of Japanese history and culture. This exclusive event includes tickets to the Sunday performance of Yamamoto’s new dance work, Direct Path to Detour, and a cocktail reception and hot pot dinner with the artist and performers, prepared by Chef Jean Philippe Gaston at Izakaya restaurant in Midtown Houston.


$300 / $250 for DW Members

Schedule of Events:

  • 3 PM: Direct Path to Detour performance, Matchbox 2*
  • 4:30 PM – 7 PM: Cocktails & Dinner with the artist and performers at Izakaya

*Seating is general admission (open seating). The theater will open approximately 30 minutes before the performance begins.

*Please contact the MATCH Box Office if you’d like to attend a performance other than the Sunday matinee, but wish to attend the dinner & fundraiser. Additional performances are Friday, October 27 & Saturday, October 28 at 7:30 PM.

All proceeds support DiverseWorks’ 35th Anniversary Season.


Kevin M. Clark

Rob Greenstein

Josefa Gonzalez Mariscal

Aimee and Daniel Heimbinder

Lillian and Bob Warren

Jereann Chaney

Mahenou Ilahi


JUNE 8, 2017 by jenn

Direct Path to Detour is a new dance work by Portland-based choreographer Takahiro Yamamoto. Grounded in the idea that a sense of who we are is rooted in our embodied experiences, this dance evokes mental and physical states at the intersection of value systems, social pressures, expectations, and personal experiences of four dancers.

Yamamoto’s Direct Path to Detour collaborators – performers, musician, and dramaturge – each have an intimate relationship with bridging multiple societies by birth, residence, upbringing and/or religion. Through light, sound, and movement, Direct Path to Detour envelops the performers in a poetic, visceral experience of resistance, surrender, sincerity, and fiction.

Direct Path to Detour began as a personal exploration of the physical and emotional effects of Yamamoto’s lived experience as a queer, Japanese immigrant in the United States. Additionally, he was interested in considering what happens when various sets of cultural values come into physical contact with one another and are forced to negotiate space. Yamamoto’s artistic and creative process retraces his biographical steps in a way that allows him the time and space to unpack his own influences—aesthetically, ethically, and ideologically.


Performed by Julian Barnett, Crystal Jiko Sasaki, sidony o’neal, and Takahiro Yamamoto.
Sound composed and performed by Jesse Mejía.
Dramaturgy by Lu Yim.
Costume design by Heather Treadway.
Lighting design by Jeff Forbes.


Direct Path to Detour is supported by the Japan Foundation through the Performing Arts JAPAN program. Direct Path to Detour is a National Performance Network (NPN) Creation Fund Project co-commissioned by PICA (Portland Institute of Contemporary Art) in partnership with DiverseWorks, CAC Cincinnati and NPN. The Creation Fund is supported by the Doris Duke Charitable Foundation, Ford Foundation, and the National Endowment for the Arts (a federal agency). More information at

Direct Path to Detour’s presentation at DiverseWorks is supported by the National Performance Network/Visual Arts Network Performance Residency, the National Endowment for the Arts, the Texas Commission on the Arts, and the City of Houston through the Houston Arts Alliance. DiverseWorks Season Sponsors: The Brown Foundation, Inc., the Cullen Trust for the Performing Arts, Houston Endowment, and the Wortham Foundation.


JUNE 6, 2017 by jenn

Lines Drawn explores how artists reimagine, disrupt and question received notions of borders and boundaries. By addressing issues of immigration, nationalism, equity, and human rights through their work, the artists encourage us to contemplate the many barriers in our own lives as social constructions of power.

Set within the current context of national and global environmental, political and social crises, Lines Drawn also offers a forum to consider how the complexities and controversies of our time can be addressed through art. The project includes an exhibition of prints, zines, video, and installation work; zine and poster making workshops; and live performances, readings and public conversations.

Participating artists include Jorge Galván Flores & John Pluecker, Mariam Ghani, Margaret Griffith, Khaled JarrarJustseeds, Pedro LaschPhillip Pyle II, and Henry G. Sanchez, and workshops, performances and public programs by Keelin Burrows and Travis Smith (in collaboration with the Printing Museum), Carrie Schneider (in collaboration with Arts Take Action Houston), Sara Uribe (in collaboration with Failure to Identify), Zine Fest Houston, and the Houston Cinema Arts Festival. The exhibition also includes a curated Zine Library with selections of activist zines from across North America.

Lines Drawn is organized by Xandra Eden, Executive Director & Chief Curator, DiverseWorks.


MAY 1, 2017 by jenn


Performance, drawing, and writing are each about mark making. The bodily gesture in a performance carries with it a historical trace and movement knowledge, the linear gestures of drawing leave physical marks on a surface, and writing can be thought of as a form of drawing with language. into the midst of things brings together three artists—Regina Agu, ruby onyinyechi amanze, and Wura-Natasha Ogunji—who are truly invested in mark making in all of its forms to offer complex counterpoints to dominant cultural and historical narratives. The exhibition title refers to in media res, a literary term that describes a narrative that begins somewhere in the middle of the action.


Regina Agu’s work is interdisciplinary in nature and ranges from delicate drawings and subtle color photographs to room-size installations and texts. Her recent series of drawings uses an essay by poet Akilah Oliver, the visible unseen, as a conceptual framework. Agu’s photographic and sculptural work explores economic shifts in the urban environment as they shape the public discourse around framing African American and Black communities. The images that repeat in the work are reflections of architectural interventions in the natural landscape, construction drop cloths, and remnants of the built environment, all of which allude to issues of displacement and loss. Agu lives and works in Houston and was raised in transit throughout Africa and Europe. Her work has been included in exhibitions, public readings, and performances nationally, including recent presentations at The Drawing Center, New York, the American University Museum Katzen Arts Center in DC, Art League Houston, Project Row Houses, and The Station Museum. She is a 2016-2017 Open Sessions participant at The Drawing Center, a partner at Alabama Song, a collaboratively-run artist’s space in Houston, and a co-founder of the independent small press, paratext.

ruby onyinyechi amanze’s current body of work is focused on a large-scale series of drawings that emphasize a non-linear narrative in which various hybrid human-animal creatures reside in a constructed reality that is delicately crafted on paper. Her work attempts to physically materialize her own personal experiences of displacement through imaginative worlds of celestial and underwater environments. Drawing from her background in textiles and printmaking, amanze’s drawings reflect a fragmented and layered material sensibility that is highly intuitive in its process. amanze was born in Nigeria in 1982, and raised in the United Kingdom and the United States. She received her BFA from Tyler School of Art, Temple University, and her MFA from Cranbrook Academy of Art, Bloomfield Hills, MI. Her work has been exhibited nationally and internationally in New York, Johannesburg, Miami, Paris, London, and Lagos. She is currently an Artist-in-Residence at the Queens Museum.

Wura-Natasha Ogunji’s artistic practice straddles the visual and performative realms. The overall concepts in her work stretch between drawing and performance in order to explore relationships between mark making and movement. For the past several years, Ogunji has been creating multidisciplinary performance works concerning women occupying public space in Lagos, Nigeria through ordinary and epic actions. The exhibition will include videos of these performative gestures. Ogunji has performed at the Gordon Institute of Performing and Creative Arts, Cape Town; Centre for Contemporary Art, Lagos; the Pulitzer Foundation for the Arts, St. Louis; and the Menil Collection, Houston. Ogunji is a Guggenheim Foundation Fellow (2012) and has received grants from the Pollock-Krasner Foundation, the Dallas Museum of Art and the Idea Fund. Currently she lives between Austin, Texas and Lagos, Nigeria.