COMMENT OF THE DAY: THE ART OF OBTAINING CITY PERMITS 
“When Havel Ruck Projects was commissioned to create ‘Fifth Ward Jam,’ it was under the premise that it was temporary (although 5th Ward CRC decided to keep and maintain it). We needed to obtain a permit to move the shack we used for the piece to the empty lot where it stands today. With the help of Fifth Ward CRC, we met with city permit people and discussed that we were not creating a dwelling, but a work of art. They said we needed a building permit to move the house. We said it was our desire that we did not need a building permit after moving the house because it was going to be made into a work of art. So, saying they never have done this before, they wrote us up a creative permit that deemed the house a dwelling while it was being picked up and moved, but it would be officially deemed an ‘art structure’ after it was on the site, thus allowing us not to need building permits to construct the piece. With a little education and persuasion, the permit people can be pretty accommodating . . . seems back in the day, us artists did stuff and then apologized later.” [Dan Havel, commenting on Saving Houston’s Unzoned Artistic Spirit] Illustration: Lulu
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Tag: Art
SAVING HOUSTON’S UNZONED ARTISTIC SPIRIT 
Glasstire’s Bill Davenport has a suggestion: “Its famous lack of zoning is one of the few things Houston offers artists that other cities can’t. It’s been a defining feature of the city, and one of its main attractions for artists for decades. But this isn’t happening anymore. Prosperity has put teeth into Houston code enforcement, whose numerous inspectors now patrol the streets, ready to red-tag any unconventional building activity.
It’s vital that we preserve a loophole for artistic expression on an architectural scale. What once was an opportunity created naturally by low property prices and underfunded city government must now be maintained purposefully if Houston’s unique character as a city of artistic entrepreneurship is to continue. As part of the new cultural plan, Houston city council should create an ordinance making an exception to the building codes for artistic projects.
Of course, there will need to be safeguards against abuse. No one wants to see sleazy builders putting up unsafe, substandard structures. I propose that the city create an alternative path to compliance for creative projects in art and architecture, in which building officials will approve structures on a case-by-case basis, by assessing them on their merits, rather than on whether they conform to the rigid conventions of the International Building Code.
Imagine the effect! If you are an artist or architect in San Antonio or Sri Lanka with a great, crazy idea, and you heard that, in Houston, projects like yours were welcomed as part of the city’s freewheeling culture, where would you go?” [Glasstire] Photo of Inversion by Havel Ruck Projects: The Decay of Lying
Are you one of those sensitive types who’s always on the lookout for the jewels in the Houston landscape? It can be tough going, right? Try seeking out the jewelry in the Houston landscape instead, and your job just got much easier: Over at HCC’s Central Art Gallery on the corner of Austin and Holman, a group of 17 local artists just opened a show called “Mapped: A Survey of Contemporary Houston Jewelry and Metalwork.” And if the preview images are any guide, the works in the show demonstrate a real appreciation for some very Houston-y stuff. The fencelike brooch at top by Masumi Kataoka is made of copper, enamel, stainless steel, glue, and some sort of animal intestine. Below it is a “neckpiece” by Edward Lane McCartney, forged from bits of in-town teardowns. Caitie Sellers shaped the under-construction piece o’ Downtown below from sterling silver and copper:
Bayou City Jewelry
AND NOW, AN INCREASINGLY ABSTRACT VIEW OF WHAT IT’S LIKE TO WORK AT THE ROTHKO CHAPEL Alberto Sosa’s latest animated video interview of a starting-level employee in the Houston art world features visitor services and volunteer coordinator Yma Luis — and thousands of drawings. [Glasstire] Video: Alberto Sosa
Where else but Houston will you ever come across a day-long urban celebration that brings together demolition, visionary art, inventive gardening, a stirring memorial, water infiltration, and toxic mold? These core elements of the city’s essential funkytown identity and more will be highlighted in the Third Ward on February 7, when Project Row Houses, the owner of the last of 3 homes the late Cleveland Turner serially transformed into environments festooned with yard art and brightly painted junk, ceremonially rips apart the rotting property at 2305 Francis St. on account of they discovered a month or 2 ago that it (along with many of the works stuffed inside) was contaminated “beyond any chance of salvation” with varying dark hues of dangerous and smelly mold spores.
It’s a Houston Thing
Why are so many of the men featured in the Tinder Guys Posing with Art Tumblr posing with art that’s in Houston? Maybe it’s because the website’s creator and curator, Sally Glass, is based here. Scroll through the entries Glass has been posting since April and you’ll not only find available men on Tinder who’ve staked out positions in and around some of the city’s more prominent sculptures and paintings, you’ll also find a handy guide to the works they favor:
Local Screenshots
How many colors worked their way into this room-sized scene, titled “Yamatane” (mountain seed) and now playing in the Rice Gallery? And from where around town did the surprisingly diverse brown hues originate? Here’s the key:
Mud Mural
Sawzall-wielding housecutters Dan Havel and Dean Ruck have been carving up 3 condemned homes (from Midtown, the Museum District, and the Third Ward) to gather the raw materials for their latest exhibition, which opens tomorrow in the Art League of Houston gallery, on the occasion of their being declared the Art League’s “Texas Artists of the Year.” Collected wall parts will be stacked in a “bowl-like structure” in the complex’s main gallery (see photo above).
Havel Ruck Projects
If you were wondering how a street-facing block of neat-in-a-row East Downtown townhomes might appear after being taken over by the opportunistic spirit exemplified by a bunch of north Houston strip-center businesses, rest your aching brain: Artist Carrie Marie Schneider has already done some of that hard a-visualizing work for you. Her mashup above combines signs from independent businesses along Veterans Memorial Dr. (the stretch between I-45 and Richey Rd.) with a row of recent townhomes on the 2600 block of Capitol St., between Live Oak and Nagle. The image, a projection of which constitutes a small part of her recently opened exhibition at the Contemporary Arts Museum, is one way to imagine a “real free-enterprise” conquest of more corporate-seeming block-by-block townhome developments. Blocks like the one pictured under all that signage “once seemed uncanny in Houston for their enforced coherence,” she writes in OffCite. “Now they’re difficult not to encounter.”
- Right Here, Right Now: Houston [CAMH]
- The Mixed Use Future of Now [OffCite]
Image: Carrie Marie Schneider
Mixed Use Mashup
HOW HOUSTON SCAVENGERS STAYED OUT OF GUTTERS AND DITCHES BACK THEN 
Embedded in a profile of 99-year-old artist Elinor Evans, who taught freshman design at the university in the sixties, seventies, and eighties — and whose exhibition of collages at the Moody Gallery opened earlier this month — is this bit of old-fashioned Houston street smarts: “She retrieved another basket and displayed a most orderly collection of hundreds of aluminum pull-tabs. Decades ago, Houston’s streets sloped inward and the centers provided ripe pickings for Evans, who said she surveyed them for ‘as found’ objects of interest.” [Rice News; exhibition] Still image: Rice News
- 6813 Concho St. [HAR]
A FOILED BIT OF ART THIEVERY DOWNTOWN 
Two men in casual business attire attempted to walk out of a basement service door of the JPMorgan Chase Tower at 600 Travis St. after midnight last night with the beach-scene painting pictured at right, which had been hanging in one of the building’s common areas. Police recovered the painting from a stairwell near the Alonti Cafe, where the pair appeared to have dropped it after hearing sirens. Suspects were arrested as they walked casually along the sidewalk in front of the building, and charged with felony theft. [News92FM] Photo: KHOU
Having matched the $20 million it decided it needed before beginning building its full-block Main St. arts complex, the organizers behind MATCH (the strikingly nicknamed Midtown Arts & Theater Center Houston) have decided to kick off construction work after an on-site event next Wednesday. The $25 million shared facility for more than a dozen independent arts groups (it was originally called the Independent Arts Collaborative) will go up on the 3400 block of Main St., also known as the former parking lot for the city’s former code enforcement building on the next block toward Downtown. The new rendering above of the design by San Antonio’s Lake Flato and Houston’s Studio RED shows the view from Main St. and Holman, looking north.
Here’s a fly-through in and around the main breezeway corridor of the 59,000-sq.-ft. collection of theaters and galleries and plazas and office spaces, starting from the same corner:
Could Use $5 Million More
THE SWEET SMELL OF HOUSTON HISTORY 
Embarking on a tour of Houston by means of a “site-specific narrative” created by 3 artists as part of the Mitchell Center for the Arts’ first CounterCurrent Festival earlier this month, critic Betsy Huete picks up her “survival pack” of a bottle of water, a Metro day pass, a phone charger, and a bottle of Purell hand sanitizer enclosed in a koozie, and heads to the first stop: Allen’s Landing. There she encounters one of the artists, Lacy M. Johnson: “Johnson suggested I begin reading the essays accompanying The Invisible City, a series of writings tied to specific coordinates within the city of Houston. I would have to read each excerpt at each location to fully understand the work. The writing tied to Allen’s Landing was a brief recalling of Houston’s history, starting with its birth as a settlement at Allen’s Landing and, eventually, a meditation on the city’s rabid desire to erase itself and rebuild, leaving a palimpsest of memory and history. As I descended the stairs overlooking the bayou’s lush greenery on that crisp spring morning, with an erect corporate sky line as backdrop to errant clothes and shards of glass, with the stink of urine-saturated concrete pervading my nostrils, Johnson’s statement could not have rung more true. It was beautiful.” [Glasstire] Photo: Scott Ehardt [license]
HOW THE BEER CAN HOUSE GOT ITS BEER, AND OTHER ESSENTIAL STORIES OF ENSHRINED HOUSTON WACKINESS 
Somebody oughta write a history, you’ve probably thought at some point, of the singular, weird art treasures like the Orange Show, the Beer Can House, the Flower Man‘s house, and okay, maybe Pigdom and TemplO and Notsuoh — that give Houston legitimate license to call itself funky. But it took a relative newcomer — writer Pete Gershon moved to Houston in 2005 — to conduct all the interviews and get these and other stories down on paper. Gershon’s new book, Painting the Town Orange: The Stories Behind Houston’s Visionary Art Environments, weaves together tales of the creation and preservation of these and other unique urban places, giving a detailed view of the thinking (and in at least one instance, drinking) that put them together and drew others to them. Sections on Grace Bashara Green’s stuffed-to-the-gills house at 414 Avondale St., David David Smalley’s Miniature Museum at 1406 Welch, Dolan Smith’s Museum of the Weird, and Bill Davenport’s 11th St. junk shop art studio on 11th St. were cut from the manuscript before it was published, but posted separately on the art blog The Great God Pan Is Dead. [Brazos Bookstore]
