Dual’s pumpkin-head wheatpaster installation at the corner of Montrose and Westheimer, as of Halloween night. And then:
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Tag: Public Art
Sculptor Dan Havel sends in photos of the construction he and fellow demo artist Dean Ruck have been working on for months in a new pocket park at 3705 Lyons Ave. More than a month before its debut as the backdrop for a community concert (yes, that’s a stage poking out from the front), Havel says their project is “substantially complete,” though there are still a few more details to fill in, including stairs for the stage and some landscaping. Working from a ready-to-be-knocked-down house from a couple miles northeast at 3012 Erastus St., Havel and Ruck added, ahem, a whole lot of support to the interior, as these photos taken earlier in the summer show:
A reader sends in photos of several signs posted near the corner of Spring and Goliad streets, in the shadow of the 45 overpasses not too far north of Downtown. And there they are, like halved pears, stripped skinless, golden in heavy syrup. Our tipster wants to know who the artist is. (And really, don’t you?) Also, if this qualifies as . . . graffoetry? Grafauxetry?
More First Ward sign findings below:
JACK JOHNSON, STILL DRAWING THE CROWDS IN GALVESTON 
On the agenda for the next meeting of GRACE, the homeownership organization in charge of The Oaks housing development at 4300 Broadway in Galveston: A discussion of Earl Jones’s sculpture of former world heavyweight boxing champion and Galveston native Jack Johnson, carved out of the trunk of a subdivision oak tree killed by Hurricane Ike. Homeowners association President Frank Rivera has been campaigning to have the stature moved. His complaint: That the Johnson statue was bringing a stream of tourists and other visitors to the neighborhood, creating traffic and disrupting the peace. But a canvas of residents over the weekend by 2 housing authority board members turned up only 2 who said they didn’t want the sculpture. [Galveston County Daily News; background; previously on Swamplot] Photo: Click2Houston
Installed yesterday morning on the 3rd floor of the city’s new permit HQ and Green Resource Center at 1002 Washington Ave., which features dozens of other artworks: a text wall by Mary Margaret Hansen, the project’s lead artist. “Last spring, I filled entire yellow legal pads with transcriptions of real conversations, then got it all on a lengthy word document and finally edited it to phrases and expressions that best exemplify what happens when the city takes a look at a set of plans,” she writes. “Too wet! Mud in the beams. Call back when it dries up.” Also: “What about the fees?” and “I have lingering doubts.” Your favorites are all here. Or at least some of them:
What’s it take to get a little paint or something thrown up onto a languishing and partially boarded-up Washington Ave building? If you’re landscape architecture firm Asakura Robinson and you’ve just moved in upstairs in front of the Drake in the building at the corner of Washington and Silver, you just put out a little invitation to Houston Street Art: Free . . . canvas! Bring on the street painters and poster kids! Nine of them showed up yesterday, including your pals weah, Article, Info, Wereone, Marbles, Sode, D-Falt, and COW. Swamplot photographer Candace Garcia caught up with the action as the paint and wheatpaste went down:
“Does anyone know what is the plan here?” asks Swamplot reader and architect Filo Castore, who encountered this little wall-building project in front of the Preston St. side of Treebeards at 315 Travis St. downtown, across from Market Square. That’s where this mural normally hangs out:
HOUSTON’S COMING CUDDLY ANIMAL INVASION 
Look out for a migration of flamingoes, and a few more bunnies for Easter, announces the Houston Press‘s John Nova Lomax, after an interview with stencil artist Coolidge. “A lot of people are like, ‘Aw, you need to do a cat!’ or ‘You should do a rhino!’ or something, and I’m like, ‘Well, if I was gonna do that, I’m not now.’ . . . It’s almost like I should stop doing them on city property. I should probably stick to private property. Some people have contacted me to thank me after I’ve done their buildings up. The city won’t mess with that stuff, but if it’s on their property they’ve been taking them down pretty quick.” [Art Attack] Photo of Taylor St. bridge at I-10: Alex Luster
Photos: Swamplot inbox
The Houston Arts Alliance had a tough time tolerating the intersection of Montrose and Allen Parkway, but at last they’ve gotten the job done. The organization’s commission more than 2 years ago for a pedestrian bridge across Buffalo Bayou connected to that corner, dubbed the Tolerance Bridge, was abandoned after a sea of complaints about both the name and design. The new bridge that opens today at that same spot is much simpler than the earlier proposal — and it’s simply called the Rosemont Bridge. But standing — or really, kneeling — guard by the bridge’s southern entrance today are 7 new sculptures by Barcelona artist Jaume Plensa that were given to the city by a small group of donors who aren’t going out of their way to advertise their identity. The name for the artwork: Tolerance.
The see-through figures face mostly toward the south, away from the bridge and across Allen Parkway, to a vacant site where the oft-flooded Robinson Warehouse once stood. Five years ago, the Aga Khan Foundation bought the land there and announced plans to build a new Ismaili Center on it, including lecture, conference, and recital facilities, a prayer hall and a social hall, offices, and gardens:
The New York sculptor behind those new splashy welcome signs on JFK Blvd. outside IAH passed away over the weekend after a short bout with liver cancer. Dennis Oppenheim explained the inspiration behind the Radiant Fountains sculpture and light show to the Chronicle‘s Douglas Britt last August: It was a sign he had seen as a child from the Bayshore Freeway in Oakland, California, which featured an animated version of the famous Sherwin-Williams “Cover the Earth” logo.
It was the world globe and then a bucket of paint dripping on top of it, and this captivated me. I told them [the Houston Arts Alliance] quite frankly that I would be extremely satisfied if I accomplished something like that, because it really did capture the ongoing traffic. I also said that it would be nice if these works were so … whatever … that people would turn around and come back to see them again.
- Dennis Oppenheim, creator of Bush airport sculpture, dies [29-95]
- Artist Oppenheim to create splash with light fountains [Houston Chronicle]
- Previously on Swamplot: Here’s Your Splashy New Welcome Sign, Houston, IAH’s New Welcome to Houston Sign: We Hope Your Splashdown Was Pleasant
Video: Andrew Vrana
Sculptor David Adickes is almost ready to plant this giant concrete-on-steel sign on property he owns along Chester St. on the south side of I-10, just east of Patterson. You’ll be able to get your best view of it when traffic comes to a standstill on your way downtown. Just needs a few more finishing touches, like a figurine or 2 or 8 to accompany that little guitar player hanging out between the O and the U. And hey, you’re right! If the Hollywood sign were 15 feet shorter, came down from the hillside, grew an ego, and stood by the freeway, it would kinda look like this.
- Sculptor David Adickes Loves Houston [Houston Modern Luxury, via HAIF]
- Sculptor Brings a Little Hollywood to Houston [MyFox Houston]
- David Adickes coverage [Swamplot]
Photo: Imelda Bettinger [license]
Galveston Mayor Joe Jaworski now says he will waive the $10 annual permit fees the city had planned on charging 3 homeowners whose dead-tree sculptures stand in the public right-of-way. Homeowner Donna Leibbert started a small local-media firestorm late last week after she received a permit renewal form in the mail for the sculpture of a Geisha that artist Jim Phillips had carved out of an oak tree outside Leibbert’s home at 1717 Ball St. After the Hurricane Ike storm surge killed an estimated 30,000 trees on the island, artists turned almost 2 dozen of them into sculptures. But Leibbert’s Geisha is one of only 3 of the works that sits on city property.
City spokesperson Alice Cahill, who has helped to publicize the sculpture program as a tourist attraction, tells Amanda Casanova of the Galveston County Daily News that the license-to-use fee is normally required for any designed object that occupies a portion of the right-of-way. “A carved tree is treated the same as a cafe table.” Leibbert tells Casanova she was aware of the permit requirement at the time the Geisha was carved — getting approval for the sculpture required a formal application with the city’s planning commission. But she notes that the tree had stood in the same position for about 100 years, and for free.
Over the summer, Swamplot photographer Candace Garcia tracked down 22 of the tree sculptures, including Leibbert’s Geisha. Here’s her photo tour:
Swamplot photographer Candace Garcia, who’s been steadily documenting the transformation of the vacant former Mental Health and Mental Retardation Authority building on Fannin between Tuam and Drew into a canvas for street artist Daniel Anguilu and a few friends, was able to tour the building’s roof earlier this week. Commissioned by commercial real-estate broker Adam Brackman — whose family owns the building — Anguilu has already wrapped critter-filled paintings around much of the building’s ground floor for his “Public Decor Project.” But up in the Midtown sky, the work he and a few collaborators are creating on a few stray surfaces comes across as something else entirely:
The City of Houston permitting office has worked its artistic magic: There’s a house now sitting on the lot at 3705 Lyons Ave. in the Fifth Ward that’s officially classified as a sculpture. Last week, it was just a run-down bungalow a couple of miles to the northwest, at 3012 Erastus St. At what point along its journey — which after several postponements finally took place last Thursday night — did the transformation occur? City officials and demo artists Dan Havel and Dean Ruck can’t pinpoint it. But we’ve got a few photos of the move. Maybe someone can point out for us the exact moment the art began?
