Demo artist Dan Havel sends in positive and negative preview photos of Give & Take, a sculpture he and partner Dean Ruck carved and carefully extracted from a dilapidated bungalow on West Cottage St. in East Norhill. The 30-foot-long egg-shaped piece they removed will be on display as part of a group show at the Contemporary Arts Museum featuring Houston-related work by various Houston artists. The exhibit, called No Zoning, opens this Friday.
So what’s the take?
To start our latest installment of fun pix from around town, Jay Lee snaps scenes from this week’s flooding — in a neighborhood near Kirkwood and Briar Forest.
Oh, but there’s more!
Construction on the new 2-story, 5,200-sq.-ft. Sicardi Gallery was supposed to start last year, but architect Fernando Brave says the project was delayed after the owner decided she wanted the new building to be LEED-certified. New target for construction to begin: this summer.
That’ll be charcoal-colored zinc and masonry on the exterior. Inside, there’ll be three connected gallery spaces, and a library upstairs. Two large light wells included in the design were recently axed in favor of more display space. The parking lot will be in front.
Trailer sculptor Paul Villinski, on the difficulty of procuring the raw material for his Emergency Response Studio, now on display at the Rice Art Gallery: “I thought, OK I’m going to go get a FEMA trailer, because they’re selling them online through the government - you know, the GAO Web site - at that very moment, it seemed, FEMA basically stopped releasing the trailers into the marketplace. And not only did they do that, they bought back all the ones that they had already sold. . . . And the back story with that is basically that the plaintiffs in this class-action suit need a couple of FEMA trailers so they can really study the indoor air quality and FEMA and the manufacturers do not want them to have them. So they’ve been ordered by the judge in the case to release the trailers, and they haven’t done it yet. So that made it impossible for me to actually get a FEMA trailer, which is why I wound up finding a 30-foot Gulfstream Cavalier, but it was built a couple of years before the FEMA trailers were.” [Arts in Houston; previously in Swamplot]
So what’s new?
it turns out instead that Otilia’s is actively seeking to franchise their restaurant. A bright sign by the register blinked this advertisement every five seconds as we ate, while the waitresses sullenly confirmed this fact.
Then there’s that Main St. mulch . . .
A few fun pics from around and about town! First, this crowd of black vultures ponders its next real-estate venture from atop a communications tower parked in a gated community in Cypress. Photographer Karen Morris happened upon the scene on Eldridge near Grant Rd.:
It was an awesome sight. Personally, if they adorned my rooftop every evening, I’d clean the roof, sell the house and move to the other side of town. . . . Black Vultures/Buzzards are a bit smaller and less colorful that the Turkey Vulture. They tend to follow the Turkey Vulture because it has a keener sense of smell and can find it’s meal through use of that sense. They eat dead animals and occasionally capture small live animals (field mice, etc.). Although they do not build a nest, they will take an abandoned nest. Often roost together as seen in this set of photos. If startled while roosting, they will regurgitate with power and accuracy.
More local habitat:
There’s a lot of junk for sale in this tiny Norhill storefront: Thermoses from the 1970s, a bouffant-hairstyle catalog, a 1967 Delta Zeta sorority photo, hand-painted cans of Campbell’s Soup, and — writes Kelly Klaasmeyer in the Houston Press — “what is possibly the world’s largest extant collection of macramé owls.”
Who would want any of this stuff? Even the owner wants to be done with it:
[Bill] Davenport decided to get rid of stuff because of a move. “I had to move all my junk over from storage, and I thought, ‘Oh no, this can’t go on.’ I had to look at everything as I unpacked it.” As a result, he started thinking that maybe he didn’t need all of it.
Davenport and Francesca Fuchs, both artists, bought the 4,320-sq.-ft. 1930 commercial building at 1125 E. 11th St. (off Studewood) more than 2 years ago. After 16 months of renovations, they recently moved in upstairs with their kids. And Davenport opened Bill’s Junk in one of the retail spaces downstairs:
Deputy director Emily Todd lists the “guiding principles” behind the Menil’s planned expansion for the Chronicle’s Douglas Britt: “Just going down the list: environmentally sustainable design principles; no alteration to the original museum buildings or the Cy Twombly (Gallery); the Dan Flavin/Richmond Hall installation cannot be relocated. … The relationship between the Menil buildings to the Rothko (Chapel) and the Byanztine Chapel have to be taken into account - something that is so beautiful. The … scale, ambience and residential quality of the neighborhood is of paramount importance, which I think is sweet. Any new buildings in the immediate vicinity of the president buildings will be of the scale of the Cy Twombly Gallery. Significant trees will be preserved, and building on an outdoor environment that encourages visitors and especially families, which you see if you come over here on the weekends.” [Arts in Houston; previously in Swamplot]
The firm of British architect David Chipperfield has been selected to design a master plan for the expansion of the Menil Collection campus. What’s to be added?
Those facilities include the Menil Drawing Institute and Study Center, an auditorium, a café, additional space for Menil archives and buildings devoted to the work of individual artists.
The Menil Foundation is also interested in developing “income-producing properties” along the coming Richmond rail line, reports Douglas Britt in the Houston Chronicle.
Fitting in so many new buildings, of course, will be a lot easier once the Menil decides which of its many neighboring properties it wants to knock down. And owning 30 acres in the area means there are plenty of possibilities!
Which will go first? The gray-washed arts bungalows? The small rental properties? Richmond Hall? Richmont Square?
What is it with these Landscape folks and their capsules? Last spring, L.A.’s sly Center for Land Use Interpretation began its residency in Houston by hauling an old trailer, dubbed the organization’s “field station,” to an old junkyard on the banks of the Houston Ship Channel. And now, a year later — the oil-industry spying mission almost complete — CLUI guru Matthew Coolidge and his henchpeople are capping their Houston romp with another demonstration of the delights of enclosed living.
That’s a Brucker Survival Capsule, painted bright red and decorated with a typically deadpan CLUI inscription, being installed outside the University of Houston’s Blaffer Art Gallery, where CLUI’s exhibit on the landscape practices of the Texas oil industry opens — tonight. If planting an offshore-oil-rig emergency escape vehicle on the front lawn of a university art gallery strikes you as slightly absurd, you’re only beginning to appreciate CLUI’s rare and dry sense of landscape humor.
A few months after Ike, this tricked-out FEMA trailer rolls into Houston as . . . art?? Paul Villinski’s reworked 30-ft. Gulfstream “Cavalier” trailer, which took the artist 7 months to mod, will be parked outside the Rice University Art Gallery starting later this month.
Re-born as the Emergency Response Studio, the trailer’s formaldehyde-ridden original materials are replaced by entirely “green” technology and building materials, including recycled denim insulation, bamboo cabinetry, compact fluorescent lighting, reclaimed wood, and natural linoleum floor tiles made from linseed oil. It is powered by eight mammoth batteries that store energy generated by an array of solar panels and a “micro” wind turbine atop a 40-foot high mast. Not only practical, Emergency Response Studio is a visually engaging structure with an expansive work area featuring a wall section that lowers to become a deck. A ten-foot, elliptical geodesic skylight allows extra headroom and natural lighting in the work area. Though designed as an artist’s studio and residence, Emergency Response Studio is an ingenious prototype for self-sufficient, solar-powered mobile housing.
Party on the back deck!
The cars, the people: The big city can be an intimidating place. How about these guys take on the Galleria next?
Give him another 18 months to finish it, Dr. Anthony Walter tells reporter Kate Murphy, and he’ll open the Grand Hall in his Southampton home to the public for tours. A few church groups have already seen it: “‘People are just astounded.’ Indeed, it’s hard not to gape at a gilt and mirrored hall so boisterously baroque that you half expect Marie Antoinette to appear and offer you cake. Lighted by sparkling chandeliers, the hall is 100 feet by 25 feet, with a soaring 22-foot-high coffered ceiling in gilt and lacquer. The walls are embellished with gilt cherubs, roses, feathers, foliage and birds. Enormous and richly hued paintings in elaborate jeweled frames depict romantic, mythological and biblical scenes. . . . Dr. Walter said he tried to interest curators at the Museum of Fine Arts, Houston, in his project, perhaps to make it a satellite decorative arts museum, but ‘they could care less.’ One of the museum’s curators, Emily Neff, said she had visited his home but wasn’t able to spend much time there and thus had no comment. He said their reaction was understandable, given that the museum’s collection includes abstract art, which he disdains. ‘I am a huge threat because what I have done renders everything they have junk,’ he said beneath the glinting chandeliers in his great hall. ‘I hope that doesn’t sound arrogant but the reaction of people who come in here tells me the power of it.’” [New York Times; slide show]
Note: Story updated below.
The mystery buyer of the house at 834 W. 24th St. has revealed herself! Quilter, artist, and Art Car builder Kim Ritter, who says she was “raised mid-century modern,” expects to close on the Museum of the Weird on December 15th. Museum curator Dolan Smith is planning his own art sale on the property two days earlier; Ritter says that the sale will run from 2 to 8 pm, and that the prices will be far less than what you’d expect to pay for, say, a sculpture made of hair:
Come by and get a bargain, stuff starting at 5 and 10 dollars!
Ritter tells Swamplot she’s purchased some of Smith’s work herself, including a piece entitled “Man of Ten Thousand Nails,” which she intends to keep on the property.
Does this mean the museum will be preserved?
From BayouCtyHistory (J.R.G.): RT @swamplot: Going Attractions: Hollywood Video Gives Up on the Tower Theatre http://twurl.nl/ly5csn
From heightslife (The Heights Life): RT @swamplot: Going Attractions: Hollywood Video Gives Up on the Tower Theatre http://twurl.nl/ly5csn
From GTello (Gus Tello): @Lennar Houston Real Estate Market Doing Much, Much Better Than Last October http://twurl.nl/t6uo7b (RT @HoustonPress @swamplot)
From HoustonPress (Houston Press): RT @swamplot: Houston Real Estate Market Doing Much, Much Better Than Last October http://twurl.nl/t6uo7b
From isthishouston (isthishouston): RT @swamplot: How’s That Corner of Harrisburg and Wayside Looking? http://snipurl.com/tay31From isthishouston (isthishouston): isthishouston Harrisburg & Wayside - http://isthishouston.com/2009/11/19/harrisburg-wayside/ - #houston @swamplot #eastend
From jenxer (Jennifer Mathis): I can hear it now: "Obsess much, Jen?" RT @swamplot: Comment of the Day: Demo Addicts http://twurl.nl/yf4twm
From kniemeier (Karen Niemeier): Attention East Enders! RT @swamplot How’s That Corner of Harrisburg and Wayside Looking? http://snipurl.com/tay31From jenxer (Jennifer Mathis): I need to quit reading @Swamplot's demolition reports. Seriously. This one breaks my heart. http://is.gd/4YfUZ
From TheLoopScoop (TheLoopScoop): Wow! Hope this works out! RT @GunsandTacos: RT: @swamplot: The Block Party’s Over http://twurl.nl/nxk320