A DOWNTOWN ART OVERNIGHT 
Blogger Robert Boyd is putting on his own art fair to coincide with next month’s Texas Contemporary Art Fair at the GRB. The Pan Art Fair will be housed in a (yet-to-be determined) room in the neighboring Embassy Suites Hotel, across from Discovery Green. Salon des Refusés or after-fair party pad? Maybe a little of both: Individual artists aren’t allowed to set up their own booths at major art fairs — Boyd’s hotel-suite extravaganza has already signed up 2 artists and 2 galleries. “I grew up going to comic book conventions, and art fairs are basically the same thing, except more expensive, more fashionable and less nerdy,” he writes. He’s hoping to drum up more competition: “Renting a suite at the Embassy Suites is not all that expensive. If four artists get together, they could rent a suite for the entire length of TCAF for about $250 apiece.” [The Great God Pan Is Dead] Photo of Embassy Suites, 1515 Dallas St.: Candace Garcia
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The latest creation of Julia Gabriel, Houston’s favorite doomed-building-backpack artist, focuses on the long-vacant Ben Milam Hotel at the corner of Crawford and Texas downtown, left alone as a long-foul-ball target outside Minute Maid Park since — well, at least since the days of Enron Field. Before then, Gabriel notes, it was Houston’s first-ever fully air-conditioned hotel, the first in the city to have a TeeVee in every room, and the first to feature a rooftop swimming pool.
The artist’s rendition of a now-vanished Westheimer duplex-turned-antique store (featured on Swamplot last month) required just a single bag with straps. But to capture the ghostly spirit of the Ben Milam at 1717 Texas Ave., she needed 13 separate packs, bags, totes, and purses. Pinned to a wall, they follow the contours of a photo Gabriel snapped of the structure’s north face back in March (at top). Attached to the backs of you and your dozen-closest friends, though, who could figure out that secret history? Here’s a video of Gabriel foreshadowing the inevitable demolition of architect Joseph Finger’s 1928 creation, by showing how her own assemblage comes apart, bag by bag:
MAKES THE ART REAL Artist and punk rocker Mark Flood — who made a practice of setting up studio space in decaying, abandoned buildings — explains Houston to New York Times arts blogger Randy Kennedy: “Q. You’ve described Houston as an “oil-stained, overdeveloped parking lot, packed with cars, littered with advertising, designed for profit, not people.†Why have you stayed there all these years? A. I don’t hear any anger in that description. Merely truth telling, which freaks people out. I’ve just always liked Houston. I could operate there. I could drive around. I had a pickup truck. And it was a city that fed my work with something — I call it reality. Houston is more real than most places, more real than New York.” [NYT]
Dancers ranging through the 100,000-sq.-ft. former JCPenney at the West Oaks Mall — now known as the West Oaks Art House — “got pretty vigorous,” explains local art blogger Robert Boyd, who attended one of the inaugural performances in Houston’s newest, largest, and loneliest independent arts facility. One of them kicked the hole in the wall pictured at right. No grief from the free-range arts center’s laid-back L.A. landlord, though: “I kind of love the hole in the wall,” Pacific Retail’s Sharsten Plenge tells him. “It is like a souvenir of the energy that Suchu graced WOAH with.” (Yes, Plenge is an artist herself.)
In 2009, the now-10-year-old Betz Art Gallery housed in a 1947 cottage-scale venue on West Gray gained a 3-story appendage to expand its exhibition space. Now the gallery towers over itself. Listed in January at $599,000, the property’s asking price dropped to $549,000 at the end of March. That’s around the time artist Lori Betz opened the Betz Art Foundry at the Summer Street Studios, up in the artsy warehouse district off Houston Ave. Although the Montrose-area gallery remains open, it’s moving later this year, a gallery staff member says.
A mashup of modern and vintage structures, the bi-level gallery-home is listed as ADA compliant and reported to be “very energy efficient.” Maybe it’s the dearth of windows. Glass panes that remain post-redo have light-diffusing panels.
Brave Architecture’s new Sicardi Gallery across from the Menil parking lot is “pretty amazing,” declares Glasstire art critic Kelly Klaasmeyer, who was there for Thursday’s opening opening. The 2-story 5,800-sq.-ft. stucco-and-steel structure is a big step up from the gallery’s small previous space next to the McClain Gallery on Richmond. That lone window on the second floor of the new building facing West Alabama is designated as a rear-projection screen for exhibited videos, but they’re not showing yet:
L.A. architects Sharon Johnston and Mark Lee will be the designers of the Menil Collection’s new Drawing Institute building, the organization’s board announced late yesterday. Their firm, Johnston Marklee, beat out Tatiana Bilbao, SANAA, and David Chipperfield Architects for the commission. The exact location for the building hasn’t been decided yet, though a Menil spokesperson previously told Swamplot the southern portion of the campus (depicted above in a Johnston Marklee graphic) was likely, and the Menil’s description of the LA firm’s design proposal makes it clear it’ll be long and thin: “a single-story, metal-roofed structure . . . built around a trio of courtyards.”
Do you miss the old Galerie Mado Chalvet building at 1706 Westheimer? And, um . . . another question: Do you need a backpack? Designer Julia Gabriel has just the thing for you, then: Your very own handmade 1706 Westheimer Rd. backpack, modeled after photos she took of the hulking duplex-turned-antique-store after it burned last July. It’s since been torn down — along with the neighboring structures on the corner of Dunlavy and Westheimer — for a new development. The HSPVA grad watched the building’s demolition from across the street at Domy Books, but she’d already decided to memorialize the building as a backpack. Yeah, she does that sort of thing: “My backpacks are what I imagine these abandoned buildings were like in their prime: fresh and new with a dash of color,” she writes. “They include a stitched map that shows the buildings original location so it can always find its way home.”
The very first event at the brand-new West Oaks Art House takes place this Friday night, when the Suchu Dance company performs its first work in the eerie fluorescent-lit cavern left behind by JCPenney when it gave up on its freestanding building at the West Oaks Mall in 2003. The performance kicks off the appropriately named Big Range Dance Festival. It’s not just the repositioning dance of the vacant mall department store: 16 Suchu dancers will range around the enormous space in a piece called “Afternono.” To counter claims that this event is a bit too “way-out” for Suchu’s usual East Downtown audiences, the company is commandeering a trolley-style bus to bring audience members from the Spring Street Studios north of Downtown to the West Houston mall at Westheimer and Hwy. 6.
LA artist Sharsten Plenge, who’s been working to transform the abandoned 100,000-sq.-ft. store into some sort of arts center — in part by offering free rent to artist groups willing to venture so far from their usual haunts and set up shop or exhibits there — tells Swamplot she hopes the inaugural Suchu performance (as well as additional ones on subsequent Saturday afternoons) “marks the beginning of what we hope to be many more unique projects” in the building, which now bears the acronym WOAH.
COMMENT OF THE DAY: WORKING IN THE EAST END, ATTENDING MIDTOWN “. . . In the East End, there is Talento Bilingue, Frenetic Theater, Box 13, El Rincon Social, Super Happy Fun Land, Barnevelder Movement/Arts Complex, Kalinen Contemporary, and probably some things that I’m missing. That’s a pretty good set of arts spaces, but it’s very spread out (from near 59 all the way out to Broadway). What is definitely going on in the East End is that a lot of artists have living and/or work spaces there (even though they have exhibits, both El Rincon Social and Box 13 are primarily studio spaces). But that’s not the same as being a destination for people to see art/performances. Whereas the Midtown/Museum District arts area is much more compact –– only 1.5 miles from the Midtown Arts Center to the MFAH — and in between you have the Continental Club, Inman Gallery, Bryan Miller Gallery, Art Palace, Devin Borden Gallery, War’House, the Houston Center For Contemporary Craft, Lawndale, the Ensemble Theatre, the MFAH — and that’s just on Main St. . . . If I was a scrappy young arts group looking for a physical home, I’d look out in the East End before Midtown. You just aren’t going to get things like Super Happy Fun Land, Frenetic Theater or Box 13 in Midtown.” [Robert Boyd, commenting on Midtown Arts Center Interim Design Review: How Do You Like It Now?]
San Antonio’s Lake Flato Architects and Houston’s Studio Red have completed what they’re calling a schematic design for the new 59,000-sq.-ft. Midtown arts center planned for the full city block at 3400 Main St., adjacent to the Ensemble/HCC light-rail stop. And that means: Yes, presentations to the board of the Independent Arts Collaborative, but also the follow-on posting of the design on the organization’s Facebook page — to see what further reactions come in. The latest plans elaborate on the design team’s concept of separate spaces connected by an open-air central breezeway (the tall structure at right in the above image, viewed from the corner of Main and Holman), but make clear that the theaters are the project’s focus.
HOUSTON STREET ART IS FOR DRIVERS 
Sebastien Boncy wishes Houston had more street art that made sense for Houston, where the viewers aren’t walking by. Like this sort of thing (pictured) “from a couple of months ago. Post-retinal butter on a stick. I saw it from the passenger seat, driving through downtown. Once more, only seconds are needed to take in this bright rupture in the space-time continuum. One look and you have a pretty good idea how it was made. As you are taking in that visual break with the dull aesthetic of yet another Downtown building, you are also processing the bratty action that made it possible. My day brightened as I saw it, I felt a twitch in my muscles that let me know how easy it would be to be part of the vandalism. I hadn’t felt that sort of adolescent rush since the first Twilight.” Alas, he continues, “Such examples remain rare and singular. I wish I had pictures to share with you the wonders of fire hydrants dressed in Lacoste (circa 2003) or the Twombly-like mural of poop smears (2005?) next to Mai’s. I have no idea who made any of this. Were they artists? You’re right, stupid question.” [Glasstire] Photo: Sebastien Boncy
Where exactly on the Menil Collection campus in Montrose will the new 18,000-sq.-ft. Drawing Institute building be built? That’s for one of 4 architecture firms to decide. The organization announced late yesterday that Mexico City architect Tatiana Bilbao, LA’s Johnston Marklee, 2010 Pritzker Prize winner SANAA from Tokyo, and Menil master plan designer David Chipperfield Architects are the finalists to get the commission. Chipperfield’s 2009 plan for the campus doesn’t dictate a particular site for the new structure, which will combine exhibition areas, offices, storage, and conservation space for the Menil’s growing collection of drawings. But a Menil spokesperson tells Swamplot that the southern portion of the campus is a likely location, and that the building’s footprint “will be similar to that of the Twombly Gallery.”
- Menil Collection plans new building for Drawing Institute; four architecture firms named as finalists [Culturemap]
- 4 vying to design Menil building [Houston Chronicle]
- Previously on Swamplot: The Menil Looks at Richmond
Photo of Richmond Hall and Richmont Square Apartments on Richmond Ave: Raj Mankad
Those fishy figures in the photo above might look like just another bit of street art wheatpasted onto just another dilapidated East Downtown building, but they signaled a life-changing event for one Swamplot reader. QR code included. The images are based on the work of Spanish graffiti artist El Pez — the reader’s favorite. So what happened when she and her boyfriend drove past them on Congress St. between Hutchins and Bastrop last Sunday?
Art galleries that are within sight and walking distance of other art galleries might do better than standalone spaces, guesses blogger Robert Boyd after mapping the somewhat clustered Inner Loop locations of Houston’s 9 art-gallery clusters (above): “Since I started this blog, none of the institutions in clusters have shut their doors except for Joan Wich’s gallery, which died when she did. But isolated, non-clustered institutions have had problems.” Call it Houston’s might-as-well effect: “Visiting an art gallery or museum generally requires someone drive (or bike) to it–to make a dedicated trip, in other words. But if there is a second gallery there, the marginal effort required to visit the second art space is practically nil. Might as well, right?”
- Clusters [The Great God Pan Is Dead]
Map: Robert Boyd
