ArtHouston Issue#18

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Ihad a dream to create ArtHouston , a magazine which would bring Houston art and artists to the world. I firmly believe that Houston deserves to be in the conversation as one of the top art cities globally, and I have been determined to get it there. Since our initial launch in September 2014, I’ve worked tirelessly to make ArtHouston the voice of our art community.

ArtHouston fills a void in our city by illuminating our flourishing arts scene, which includes professional resident companies, five renowned Art Districts, the nation’s fourth-largest Museum District, and the best airport in the world for its outstanding art programs (page 18).

Now, ten years later, ArtHouston remains the sole magazine devoted to art in Houston. You can find it for free in galleries, art venues, retail outlets, luxury residential buildings, and major events throughout the city.

In this issue, to mark our ten-year milestone, we’re showcasing Emilie Duval, our Artist of the Year, (page 76), alongside the five talented finalists.

As Houston continues to evolve nationally and internationally as a culturally rich city, I strongly believe that ArtHouston has become an indispensable asset. It provides residents and visitors with a diverse source of information covering Houston’s arts, culture, design, and events. So hold onto your past copies, as they are becoming coveted collector’s items.

I’m excited for the next ten years of ArtHouston and all the outstanding art we’ll continue to share.

Yours faithfully,

Photography by Hall Puckett
oh n
5535 Memorial Drive #L, HOUSTON 713-457-8800

World’s Best Art


Jodie T. Morse 22
Wisps William Hanhausen 26 Multiplicity Arthur Demicheli 32 Vertigo at the MFAH Sabrina Bernhard 36 Janet Sobel at the Menil Matthew Lynch 40 Fragmented Figure John Bernhard 46
Kahraman Sabrina Bernhard 50 Artful Leadership Arthur Demicheli 54 Koelsch Gallery John Bernhard 60
Revival Holly Walrath 66
Renaissance Haley Berkman Karren 76
Sabrina Bernhard 86 Artist
Finalists ARTHOUSTON SPRING 2024 CONTENTS ON THE COVER : Commissioned by the Moody Center for the Rice Public Art collection, Crux Australis 68.00 was created by the internationally renowned Argentine artist Tomás Saraceno. The installation extends across multiple stories within the Ralph S. O’Connor Building for Engineering Science at Rice University.
Artist of the Year
of the Year
Photo by Anthony


City of Houston


Public Art of the University of Houston System

Breathe Allegory

Public Art UHS presents “Havah…to breathe, air, life,” a temporary multimedia exhibition by globally recognized artist Shahzia Sikander. The exhibition challenges traditional symbols of power, justice, and female representation, featuring a monumental outdoor work co-commissioned by Madison Square Park Conservancy and Public Art UHS. Originally exhibited in New York, it officially opened at the University of Houston in February and will be on view at Cullen Family Plaza until October 2024.

Rachel Mohl, executive director of Public Art UHS, expresses honor in presenting Sikander’s innovative exhibition to the University of Houston community. Sikander, known for blending Central and South Asian artistic traditions with contemporary practice, explores justice and female representation throughout history. The exhibition aims to foster dialogue, inspire cultural exchange, and leave a lasting impact.

The Houston presentation comprises two distinct works. “Witness” (2023), an 18-foot golden sculpture of a prodigious female figure, challenges the history of public monuments dedicated to Western men. The figure, floating and resisting permanence, symbolizes a diaspora that carries its roots wherever it goes. Adorned with Arabic writing, the figure epitomizes female potency and disrupts traditional forms of public sculpture. The corresponding work, “Reckoning” (2020), is a video animation illustrating a graceful dance between entangled warriors, emphasizing respectful dialogue and the timelessness of nature.

Sikander’s return to Houston, where she served as a fellow in the mid-1990s, marks a significant moment. Her international renown for examining contested histories is reflected in the UH presentation, building on her 2022 exhibition at the Museum of Fine Arts, Houston. “Havah…to breathe, air, life” encourages reflection on identity, gender bias, and the complexities of history through innovative artistic expressions.

Houston’s Mayor’s Office of Cultural Affairs (MOCA) is awarding over $13 million in grants to 72 individuals and 156 arts and culture nonprofit organizations and fiscally sponsored projects offering public exhibitions, presentations and performances in 2024. The funds are awarded via the Support for Organizations, Festival and Support for Artists and Creative Individuals grant programs, which support individuals, nonprofit organizations and fiscally sponsored projects with annual arts and cultural programming that is available to Houston residents and visitors. These grant programs are managed and administered annually by the Houston Arts Alliance (HAA).


Carlos Duarte, former Texas director of Mi Familia Vota, is appointed inaugural president of ALMAAHH, activating a Houston Latino movement for arts equity. He will lead efforts to establish an arts complex and museum, championing Latino arts amidst a push for representation. ALMAAHH board chair Geraldina Interiano Wise praised Duarte’s leadership, citing his understanding of Latino culture and community engagement. She emphasized his vision of using arts to inspire and empower communities.

ARTHOUSTON 6 news bits
Shahzia Sikander, breathe, air, life . Photo courtesy of Madison Square Park Conservancy.


FotoFest Biennial 2024

The 2024 FotoFest exhibition, Critical Geography, challenges conventional Western geographic perspectives and explores evolving spatial landscapes.

The FotoFest Biennial 2024 central exhibition, Critical Geography , reexamines traditional Western and historical understandings of geography while investigating shifting and emergent spatial realms.

Borrowing its name from the sub-discipline of geography that questions and challenges power structures, inequality, and dominant ideologies shaping spatial patterns, Critical Geography explores how space, place, and communities are influenced by social, economic, and political forces. By critically analyzing these dynamics, the works in the exhibition aim to provoke conversations around social justice, environmental sustainability, and transformative change.

“Our hope is that the 2024 Biennial, featuring both existing and newly commissioned works from local and international artists, will allow viewers to engage in important dialogues around the social dimensions of space and our shared planet,” says Steven Evans, Executive Director of FotoFest. “We look forward to once again celebrating Houston’s vibrant art and photo community while embracing these new perspectives around place-making, the image, and geography.”

Critical Geography features a diverse range of image-based practices: from photographers and storytellers whose works shed light on systemic oppression, violence, and urgent environmental concerns, to artists and image-makers who appropriate mapping, social media, and technology to explore inequality in colonial and post-colonial contexts. The exhibition presents a range of unorthodox strategies employed to construct new narratives around place and community while imagining alternative social organizations of space. The Biennial exhibition also includes several site-specific commissioned works by participating artists.


Critical Geography

On view: March 9 – April 21, 2024

Wednesday–Sunday | 11 AM–6 PM

Silver Street Studios and Winter Street Studios

Ten by Ten: Ten Portfolios from the Meeting Place 2022–23

On view: March 9 – April 21, 2024

Wednesday–Sunday | 11 AM–6 PM

The Silos at Sawyer Yards

From top: Brad Temkin, No Name Sag Pipe Crossing Aqueduct 1 - Pearsonville, CA , 2021. Caleb Fung, King George V Memorial Park, Hong Kong , 2022 Archival pigment print on metallic paper. All photos courtesy of the artists.


Holocaust Museum Houston

The Holocaust Museum Houston (HMH) presents The Kinsey African American Art & History Collection, an exhibition spotlighting Black Americans’ achievements from 1595 to the present. The collection, curated by Bernard and Shirley Kinsey over their 50-year marriage, showcases 100+ treasures, including paintings, sculptures, photographs, books, and more, in the Josef and Edith Mincberg Gallery, sponsored by Shell USA.

Recognized for its comprehensive portrayal of African American history and culture, the exhibit has received three national awards and reached over 16 million people across 35 cities in the U.S. and abroad, featured in prominent institutions like the Smithsonian and EPCOT.

The exhibit explores African American lives from the 16th century to modern times, highlighting significant moments such as the civil rights movement and the Harlem Renaissance. Artists like Charles Alston, Elizabeth Catlett, and others represent the journey of African Americans through their work.

Bernard and Shirley Kinsey, collectors turned cultural custodians, aimed to provide a comprehensive look at African American history and their contributions to the nation. Managed by their son, Khalil Kinsey, the collection strives to give voice and visibility to ancestral struggles and triumphs.

The exhibition challenges the ‘Myth of Absence,’ emphasizing African Americans’ substantial yet overlooked contributions to various facets of American society. It aims to dispel historical omissions in industry, art, science, and politics.

The Kinsey Collection echoes themes of resilience amid discrimination, showcasing African Americans’ vital societal contributions. Alex Hampton, HMH’s changing exhibitions manager, notes its resonance in illuminating commonalities and disparities in history, aiming to unite communities.

Drawing parallels with the Holocaust, the exhibit underscores the grave consequences of decisions that marginalize groups. It prompts reflection on societal choices and their far-reaching impacts. On display until June 23, 2024, the exhibit urges visitors to consider the repercussions of indifference and the imperative nature of safeguarding rights for all.

The Museum of Fine Arts, Houston

For centuries, Bergen, one of the largest port cities in Scandinavia, was a thriving hub of global commerce, with a burgeoning export of fish, timber and fur. That trade in turn spurred the development of a uniquely Norwegian approach to a timeless craft: gold and silversmithing. The exhibition Crowning the North: Silver Treasures from Bergen, Norway explores the art of the Bergen silversmiths from the 16th to early 20th centuries, and examines the evolution of the craft against the backdrop of greater political, social, and economic change in Norway and other parts of the world.

Some 200 objects – from spoons, tankards, sugar bowls and salt cellars to elaborate ceremonial wedding crowns and fantastical vessels – are on exclusive loan to the U.S. from public and private Norwegian collections. The exhibition is comprised of objects from Kode Bergen Art Museum, The Bergen University Museum, and the private collection of Norwegian collector Christen Sveaas.

“This presentation of objects from three prestigious Norwegian collections of art, craft and design is an exceptional opportunity to discover Nordic history and esthetics across centuries and across the intersecting forces of global trade, taste and fashion,”

commented Gary Tinterow, director and Margaret Alkek Williams Chair, the Museum of Fine Arts, Houston. “We are pleased to collaborate with the Kode Bergen Art Museum in bringing these remarkable objects to Houston, where they will be seen by U.S. audiences for the first time.”

The exhibition highlights the work of several of Bergen’s legendary master goldsmiths. Unique to the exhibition are several extravagant bridal crowns. These ornamental crowns originated in the late Middle Ages and were often kept by the village church to lend to generations of brides for the wedding day. On view until May 5, 2024.

Bridal Crown , 1590–1610, silver and silver- gilt, Christen Sveaas Collection SamuelL.Dunson, Jr, The Cultivators, 2000, Oil on canvas. Courtesy of The Kinsey African American Art & History Collection
Bisa Butler, The Boss, 2006, Quilted cotton, appliqué. Courtesy of The Kinsey African American Art &History Collection


Houston Center for Contemporary Craft

“Fiber in 3D” Offers Immersive Installation for Visitors

“Indigo Houston” by Baggs McKelvey is the featured installation of “Fiber in 3D,” a collaborative exhibition between Fiber Art Now and the Houston Center for Contemporary Craft. This site-specific piece, crafted from nearly 6,000 feet of handmade denim rope, shapes an immersive experience within the Asher Gallery space, responding to its architectural nuances. McKelvey transformed over 67 pairs of donated denim jeans into textile rope, offering a commentary on


David Owsley Museum of Art

The David Owsley Museum of Art (DOMA) at Ball State University, Indiana, showcases paintings and sculptures from the Haukohl family collection— the largest outside of Italy, spanning the late 16th to early 18th centuries. “Beyond the Medici: The Haukohl Family Collection,” curated by Houston-based art collector Sir Mark Fehrs Haukohl, highlights the influence of Florentine Baroque artists on European art, politics, and

philosophy. The exhibition features allegories, religious narratives, genre scenes, and portraits, emphasizing refined sentiments and skilled execution.

Sir Mark Fehrs Haukohl aims to broaden understanding and appreciation of art history and its relevance to contemporary life.

On view from Feb. 22 through May 19, 2024.

More information available at

Felice Ficherelli, Italian (1605–1660), Saint Sebastian Tended by Saint Irene oil on canvas, Haukohl Collection.

denim’s social history in the United States while honoring its craft heritage. The Fiber Art Now creative team curated the exhibition-inprint, while HCCC Curator + Exhibitions Director Sarah Darro selected the installation at HCCC. On display until May 4, 2024.

Baggs McKelvey, installation view of Indigo, 2022. Textile rope created from donated denim jeans. Photo courtesy Fiber Art Now and the artist. Photo by MNHA/Tom Lucas

Numinous Stones

From Elgin Award winning author Holly Lyn Walrath, a haunting collection of poetry about grief and the sacred that digs deep beyond a fairytale world into the grave. Told in the circular pantoum form, Numinous Stones is a poetic graveyard littered with horror—from sentient scarecrows to silent skeletons to scorched sacred spaces. As each line repeats, new meaning gleams like bones unearthed in a shattered realm of monsters, dark forests, and ghosts. Aqueduct Press

Writing Time

Hanne Darboven (1941–2009) is celebrated for her immersive installations of framed sheets featuring written formulations and collaged images. Darboven’s work challenges linear time, offering a distinctive perspective on art and life. The book concludes with a close look at “Inventions that Have Changed Our World”, an installation from 1996 that documents each day of the twentieth century The Menil Collection

Making Houston Modern


This publication explores the provocative architect’s life and work, not only through the lens of his architectural practice but also by delving into his personal life, class identity, and connections to the artists, critics, collectors, and museum directors who forged Houston’s distinctive culture in the postwar era.

University of Texas Press



From cake makers to carpenters and forensic sculptors, Alan Montgomery focuses his lens on Houston artists who create the unexpected. The coffee table size book contains Montgomery’s inspirational photographs of 56 Houston artists. His photos capture the essence of each person ‘s personality as well as and their craft.

Drift of Fate

John Bernhard takes readers on a journey through an intricate tapestry of love and marriage, the storm of divorce and grief, and the foundational pillars of life that inevitably lead each of us to our fate and fortune. Though there may be missteps along the way, these are the footprints that guide us toward our most profound experiences. “Drift of Fate” succeeds not only as a love story but as a nuanced exploration of the human experience.” Penguin Bookwriters



Sarah Wilson’s exploration of West Texas and Big Bend National Park, documented in her book “DIG: Notes on Field and Family,” intertwines personal and scientific elements. Wilson captures stark desert landscapes and creates conceptual selfportraits reminiscent of geological and anatomical charts. Through her work, she reflects on the profound timescale of evolution, each bone collected serving as a poignant reminder of humanity’s place within it. Yoffy Press


Tatiana Escallón

Tatiana Escallon revels in the expansive canvas, finding ample space and freedom to craft visually impactful compositions. She seamlessly integrates poetry into her artwork, concealing verses within the bold lines that shape her creations. This amalgamation of linguistic elements metamorphoses into visual forms, conveying profound and subtle messages.

James drake

James Drake is an interdisciplinary artist currently working in Santa Fe, New Mexico. His drawings, video, sculpture, photography, printmaking and installations, investigate the human condition, emotions, and systems of communication, oftentimes through allegory to underscore the cyclical nature of history.


Vincent Fink

Vincent Fink’s creations embody the essence of surrealism in its purest form. His evocative images, characterized by dark tones and distorted perspectives, beckon the viewer into a realm born from a vivid dream where he witnessed the culmination of his artistic endeavors.

Maxim Wakultschik

Maxim Wakultschik’s art consists of illusionary works that carefully control not only what viewers see, but how they see it. The artist’s exploration of fragmentation, composition, and pattern has placed him in a field of tension between painting and object art. His complex and multilayered works investigate the interplay between color vibration, surface structure and depth.

Yukiya Izumita

Each work reflects the interior and exterior journey that led to their creation. Izumita relies on the salt-rich clay of the Iwate prefecture in the Tohuku region of Northeast Japan, known for its harsh weather. Izumita smooths the clay with his hands, embracing only the quiet sound of his tools in motion as he meditates on his creation. The dry result is a multi-dimensional surface aligned with the earth’s natural landscape.




Due t o having been with a partner employed on the corporate side of the aviation industry for the past fifteen years, I haven’t taken a commercial flight or flown into or out of a public airport terminal in over two decades. So, upon entering George Bush Intercontinental Airport (IAH) for the first time in twenty years, I was astounded; IAH was a completely different transportation hub than I remembered it to be. Not only had the technological facets and flight attendant uniforms been vastly updated and upgraded but so had the art.

You read that right; I said, “the art.”

During my recent IAH tour, it became instantaneously apparent to an aesthetically focused individual, like me, that bygone were the days of placid, still life flora and

generic watercolors of could-be-anywhere skylines and seascapes. In their places, were hung masterpieces as diverse and inspirational as the city we Houstonians call home. At every terminus turn and corridor twist, I was visually captivated and artistically overjoyed. Being “stuck” at the airport during a layover might no longer be a miserable affair but could actually be a rather enjoyable endeavor. Thank you, Mr. Alton Dulaney!

As the Public Art Program Director and Curator for the Houston Airport System (HAS) since 2019, Dulaney has done a spectacular job bringing a fresh and vibrant aesthetic to the lobbies and lounges of the three main HAS airports: IAH, William B. Hobby (HOU), and Ellington Field/ Spaceport (EFD). Not only has he chosen to feature award-


Alton DuLaney playfully emulates a pose in front of Xavier Schipani’s remarkable large-scale painting, Overlap, situated within the Terminal B Skyway station. Crafted in 2022 using acrylic on panel, this captivating artwork serves as a tribute to inclusivity and the profound essence of human interaction.

“We don’t curate art for an art crowd. We curate art for the general public.
-Alton DuLaney

Clockwise from right: Three floral bouquets in a vitrine in Terminal A Connector Gallery showcase how three artists interpret the same subject matter in very different manner. Peter Mangam, George Tobolowsky, and Karin Broker.

Elizabeth DeLyria, The Sentinels, 2012. Stoneware, glaze and stain. Houston-based artist reinterprets nature in stoneware to create realistic sculptures.

Input Output. Data Stream, 2022. LED lights and customized data programing. An ever-changing light show, by local duo Billy Bacham and Alex Ramos, translating data into a visual stream, in Terminal B Skyway Station.

From top: Terry Allen, Countree Music, 199. Bronze, Terrazzo, sound, and lighting. One of the first pieces commissioned for Houston Airports.

Display from the 1940 Hobby Airport Air Terminal Museum, which highlights the golden era of aviation history.

Marshall K. Harris, Carcass, 2011, Graphite on Mylar.


Alton DuLaney, Curator of Public Art, sitting under Michael Kennaugh, Hat Six, 2013. Oil on Canvas.


winning art by high-profile, internationally known artists, but he has also given a curated home to hundreds of works by up-and-coming Houston and Texas-local artists and creators. From a rotational roundup of sculptures and paintings inspired by the Houston Livestock and Rodeo Show to the ultra-modern, digitally interactive LED-light display titled Input Output…then, furthermore, on to the additional 350+ pieces of catalogued airport art worth over $28 million dollars, there is no question why the international auditing firm Skytrax deemed HAS the first-ever recipient of the world-wide “Best Art in an Airport” award in 2023.

While the outstanding accolades and fiscal worth of the collection are quite impressive, for me, they aren’t the main factor that make this aggregation of art such a significant and desirable destination to visit. What especially piqued my interest about this gateway gallery was Dulaney’s development of refreshing and heart-warming innovations like the airport Artists-inResidence program, airport employee exhibitions, Harmony in Air staged musical performances, and the Healthy Art Walking Tour (H.A.W.T.)—which encourages travelers to engage in low-impact exercises as they

traverse chosen exhibits. In addition, I loved learning about this Splendora-native’s undying passion for promoting his fellow artists from Texas. As we toured the art-lined corridors, he relayed many exuberant stories about his connections to and affection for Texan artists like Colby Deal, Bert Long, Jr., and Xavier Shipani. Dulaney even frequently dons a hat reminiscent of Houstonian Cindee Travis Klement’s bronzed piece entitled “Heritage”— featured at IAH.

As part of his role with HAS, Dulaney is quite the collaborative networker and promoter. He joined forces with the Don’t Mess With Texas organization to help endorse their anti-litter campaign via a series of curated murals throughout IAH, coordinated with the Blaffer Museum to install a series of photographs by the recently deceased Texas artist Pam Francis in (IAH’s) Terminal A, and has promoted a cultural collaboration with the Air Terminal Museum presenting artifacts and fashions from the “Golden Era of Travel” at both IAH and the Hobby airport. But one of the joint-effort displays Dulaney spoke most passionately about during our tour was a three-part creation facilitated by Terry Allen, an artist from Lubbock,

From top:

Bert L. Long, Jr. Quest, 1983. Multi media and found objects. this whimsical sculpture embodies all things travel related from a walking trunk, to airline tickets and a drivers license.

Pam Francis, Texas Legends, Portrait series of Texas luminaries. Located in the baggage claim area of Terminal A.

Dixie Friend Gay, Houston Bayou, 2003. 5 columns covers in metallic glass tile, a lighting feature, and a 73 feet long undulating mosaic mural celebration the aquatic artery of Houston. Located in Terminal B arrivals level garage connector.

titled “Countree Music”. This engrossing piece consists of a uniquely designed terrazzo floor featuring Houston at the center of a world map, a sixteen-song original score which includes a piece sung by David Byrne of the Talking Heads, and a bronze sculpture tree by James Surls, who was based for twenty years in Splendora—Alton Dulaney’s hometown.

Has Program Director and Curator Dulaney already done a ton of innovative things for the art-in-the-airport world? Yes, he has. But have no fear, there are more flights of fancy up his artistic sleeves. Two specific things to look forward to are a potential partnership with the Orange Show to acquire an official Art Car for display at IAH and, currently in the works, is a venture featuring work by local artists Marlo Saucedo, Leslie Gaworecki, and Houston’s 2021 Poet Laureate, Outspoken Bean. Having been part of

the Color: Story poetry and art event with Saucedo and Gaworecki in the past, I can’t wait to see the outcome of this particular collaboration; I have no doubt it will be epic. Dulaney says of his beloved role, “We don’t curate art for an art crowd. We curate art for the general public.” Seeing as Houston Airport Services serves over sixty million passengers a year, that’s an incredible amount of exposure for artists lucky enough to have their work chosen for exhibition in one of Houston’s main airports. So, if you’re an artist interested in discovering more about this amazing opportunity, watch for new works calls by Alton Dulaney via the Houston Arts Alliance. Here’s hoping the HAS bump helps your artistic career soar to new heights and your work becomes the catalyst that inspires people, like me, to engage in more public air travel in the future.

Ken Little, Hey, 1996. Bronze. A fun small-scale bronze sculpture, one of several in the collection, by San Antonio based artist Ken Little part of the self-guided Healthy Art Walk Tour (HAWT) at IAH combining art and exercise, with information on art from the Curator Of Public Art and an easy exercise led by Personal Trainer Zachariah McNeil. Located in the Terminal A Connector Gallery.


Sounding Place of Inspirational Passage

A Resonant Haven of Inspiration for Emigrants and Minorities and what is yet to come for this prolific Master

Viewing the world through the lens of a Latino, I recognize the phrase that unites and anchors us within the vast immigrant and minority family. My exploration of leadership transcends the conventional Latino perspective, delving into the collective souls of artists whose opinions harmonize, articulating what their work signifies personally to our community and the world.

Encountering Janavi Mahimtura Folmsbee, an artist with wisdom surpassing her age, is a privilege. Fostering sincerity necessitates an environment where truth is spoken without fear, recognizing that honesty not only commands respect but also amplifies joy.

Witnessing Janavi’s beautiful sketches is just a glimpse of the extraordinary artistry, her finished work promises. Her vibrant world, captured through abstract realism, transforms spaces into underwater passages and worlds. Abstract expressionism intertwines dancing with imagination, creating an enigmatic universe that invites artists from diverse backgrounds to immerse themselves in an ethereal fantasy.

Noteworthy artists, including Roj Rodriquez, Elmer Guevara, Marcos Raya, and others, share an optimistic

renewal of inspiration. “The Aquarius Art Tunnel”, conceived by Janavi, embodies the universal concept of shared water. This space embodies the inspiration, where all minorities encounter a communal surrealism uniting beliefs and visions of success, preserving our rich cultural heritage.

It takes perseverance, determination, passion, drive, and a dream to do anything. Janavi affirmed, “That is the secret— the power of manifestation. The gusto of believing in oneself positively when no one else would. I keep positive, stay true to my calling and follow my goal to heal our planet’s oceans through my artwork.”

“The Aquarius Art Tunnel” a 240-foot immersive art installation, includes a mural, lenticular lenses, filtered lighting, custom carpeting, and original soundtrack. An augmented reality feature that invites to interact on social media educating about the Flower Gardens Banks National Marine Sanctuary. It is by far a true Texas based multi award winning public art standing today as the world’s top 100 Public Art Commission ranked by CODAworx Globally. Mahimtura Folmsbee, the youngest recipient of the “CODAworx People’s Choice” award, last October, for her


immersive installation “The Aquarius Art Tunnel” and has been endorsed through the National Oceanic Atmospheric Administration Marine Sanctuaries.

Janavi’s accolades continue with this uplifting and immersive art installation which is also a UN Ocean Decade Activity, declared by The UN Decades of Ocean Science for Sustainable Development. Recognizing it for its scientific and educational importance towards ocean conservation. Her work, has also earned the 2023 National Mural Award for Region 4.

Alton DuLaney, Curator of Public Art at Houston Airports, stated, “The combination of the Skytrax World Art award and the CODAworx People’s Choice award, means that now the world’s best airport art program officially has the world’s best public art installation. This artist is a force of nature who is inspired by the ocean as she creates immersive geographies, while also championing the environment.”

Her current artwork and studio practice educate viewers and collectors on sanctuary systems, tidal and mesophotic deep zones, and global reefs affected by

human activities. She believes that through art, awareness, and beauty, we can make a positive impact on world. Nonetheless, it is not over for this young woman; -she is just starting! This colossal Contemporary Artist continues to make waves; through her latest installation “Water Wisps, Sanctuary Bubbles.”

Named a 2023 Creative Revolutionary, one of the top arts and design leaders changing the world, by CODAworx, Janavi remains unwavering in her commitment to art and design leadership.

“Water Wisps, Sanctuary Bubbles,” a collective 321 feet long installation at gates D8/D9, celebrates marine conservation through a series of 19 captivating circular windows. Inspired by Texas seashells and mesophotic marine life, to show case biodiversity this installation opus extends Janavi’s efforts to draw attention to the health of the world’s oceans.

In her words, “Water has the power to unite us”. These artworks, inspired by the FGBNMS, our very own Texas Marine Sanctuary and our Texas coast, depict the delicate underwater movements of gorgonians and sea whips which are delicate and almost disappearing in most reefs

Janavi Mahimtura Folmsbee, Water Wisps, 321 feet long installation of 19 windows at IAH airtport. Photo by Jay Marroquin

over the world including major declines in the Caribbean and Florida, serving as a reminder of the urgent need for ocean conservation. It includes detailed ballpoint ink work from her own tide pool sketches of our Texas Sea Shells and other worldly places. This Work is a reminder that we are connected universally to water through our marine world. That the time for change is now with an ever growing Caribbean & Gulf of Mexico that is struggling against Stoney coral Disease, White plague and other coral threats.

As their delicate forms and strands of tendrils move so shall the “Water Wisps, Sanctuary Bubbles”, formulate visual intricacy in the artwork creating movement through the windows. It showcases the abundant Texas Treasures,

that are delicate and colorful. The goal was to use a simple but affective material, over a magnitude of extensive artwork layers allowing a new print process to mimic what will only look like a modern version of stain glass. Janavi, her own graphics team, an interdisciplinary artist, uses traditional techniques and materials in innovative pioneering ways to create archival works, as she believes that holds key to a successful sustainable art practice, not creating art that could become damaging for our oceans.

Steven Matijcio expressed, “The allure of Mahimtura Folmsbee’s work lives in both its aesthetic and political fluidity, and the capacity to be many things at once. She inspires environmental awareness not through rhetoric or aggression, but rather an evocation of the sublime; a channeling of nature’s inherent capacity to envelop and awe. The pulse of Janavi’s practice is a fundamental love of the global baroque, and an unapologetic, sometimes hyperbolic embrace of color, texture, pattern, material, and sensation. She eschews the subtle and revels in the rapturous; speaking her voice via contemporary enchantment.”

This new work achieves movement with color and trans formation of the space from the artists’ vision. The artwork portrays giant manta rays and other creatures that are majestic and keep the hallway uplifting. She uses the delicacy with some of the other work we have seen by her, that she identifiable as her signature of color and abstraction. “The goal is to share the message that a healthy marine ecosystem is essential on a global level,” says Mahimtura Folmsbee. Through her new body of work, she educates viewers about the importance of coralline algae, phytoplankton coastlines, and the interconnectedness of marine life globally. Janavi’s involvement with marine organizations, scientific contributions, and community engagement highlights her dedication to preserving marine-ecosystems. She even highlights immersed in the installation, Water Wisps the drawing of the “The Lighting Whelk” the Texas official state sea shel which is being picked clean off our shores. Janavi utters, shells are meant to live on the seashore as

This artist is a force of nature who is inspired by the ocean as she creates immersive geographies, while also championing the environment. ”
-Alton DuLaney

they are habitats and homes to marine species, making them are a big part of these ecosystems that are at threat. Her upcoming 2024 exhibition will take place at the “Museum of Art and Science in Daytona Beach, Florida, as part of a generous personal invitation from Sadie Woods, the Director of the Florida Atlantic Art Center and the MOAS Curatorial team. The Exhibition will open in conjunction with the “Audubon” exhibition that will open on September 2nd, and The Clyde Butcher and ACA exhibition opening in October, running through the early spring 2025. One of these

exhibitions will include worldly tide-pools and more tidal secrets.

In conclusion, paraphrasing myself, meeting Janavi Mahimtura Folmsbee, a global artist, with a serious art practice, graduate of the Art Institute of Chicago and working in Houston, is a joy. Rooted in her Indian heritage, Janavi believes in giving back actively, participating in marine conservation efforts and scientific research. Her influence extends to diverse realms, from public art to community service, making her a transformative force in the world of Contemporary Art.

Janavi Mahimtura Folmsbee, The Aquarius Art Tunnel connecting Terminal D and E at the George Bush International Airport. Photo by Jay Marroquin



The Museum of Fine Arts, Houston proudly presents “Multiplicity: Blackness in Contemporary American Collage,” marking the first major museum exhibition dedicated to exploring the profound and intricate facets of Black identity and experiences in the United States through the medium of collage and collage-informed works.

Comprising around 80 compelling pieces, the exhibition delves into the multifaceted landscape of Black identity. Featuring an intergenerational assembly of 52 living artists, “Multiplicity” investigates the expression of cultural hybridity, notions of beauty, gender fluidity, and historical memory within the realm of collage. Through the meticulous assembly of

‘‘We are pleased to present this groundbreaking exhibition, drawing attention to the richness of collage as an art form and its role in expressing Black identity over multiple generations of artists.
-Gary Tinterow

paper, fabric, and repurposed materials, these artists construct unified compositions that vividly convey the boundless possibilities of Black-constructed narratives, defying the fragmentation inherent in our society. The roster includes renowned figures like Mark Bradford, Lauren Halsey, Rashid Johnson, Kerry James Marshall, Wangechi Mutu, Jamea Richmond-Edwards, Deborah Roberts, Tschabalala Self, Lorna Simpson, Devan Shimoyama, and Mickalene Thomas, showcasing a diverse range from established luminaries to emerging talents.

M. Florine Démosthène,

The Healing: Untitled 3, 2022, collage on paper, courtesy of the artist and Mariane Ibrahim.

© M. Florine Démosthène

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Jamea Richmond-Edwards, Archetype of a 5 Star , 2018, acrylic, spray paint, glitter, ink, and cut paper on canvas, Rubell Museum, Miami.

© Jamea Richmond-Edwards

Previous spread right:

Devan Shimoyama, Tasha, 2018, colored pencil, oil, collage, sequins, glitter, silk flowers, beads, and Flashe on canvas stretched over panel, Collection Pérez Art Museum Miami, museum purchase with funds provided by PAMM’s Collectors Council, with additional funding provided by Craig Robins.

© Devan Shimoyama

Gary Tinterow, the Director and holder of the Margaret Alkek Williams Chair at the Museum of Fine Arts, Houston, expressed enthusiasm about this groundbreaking exhibition, emphasizing its focus on the richness of collage as an art form and its significant role in expressing Black identity across multiple generations of artists. Noteworthy is the inclusion of artists closely associated with Houston, such as Tay Butler, Jamal Cyrus, Rick Lowe, and Lovie Olivia.

“Multiplicity” is thoughtfully structured around seven thematic elements that foreground personal and collective history, regional or national heritage, and considerations of gender and sexual orientation alongside racial constructs. The exhibited artists draw inspiration from the legacy of influential African American artists like Jacob Lawrence, Sam Middleton, Faith Ringgold, and Betye Saar, as well as the pioneering Romare Bearden, whose exploration of collage in the 1960s aimed to foster collaboration and community. Contemporary artists, building upon this rich tradition, employ various collage techniques, from traditional cutting and pasting to intricate layering and digital creation. For some, collage serves as a principal strategy, while for others, it represents a distinctive branch within their broader artistic practice. The exhibition thus encapsulates the evolving and diverse landscape of Black identity through the lens of contemporary collage. Exhibition on view until May 12, 2024.



Houston-based artist and social sculptor Rick Lowe’s latest work, “The Line”, is permanently on display to the public at the University of Houston’s new John M. O’Quinn Law Building. Commissioned specifically for Public Art for the University of Houston System (Public Art UHS), the colorful collage-like abstraction is a reference to the Third Ward’s informal demarcation of Scott Street—commonly referred to as “the line”— as the boundary between the University of Houston and the neighborhood in the early 1990s. A professor of Art at the University of Houston, Lowe’s work aims to question the ways in which the communities surrounding the University were geographically separated, as well as their residents’ struggle to preserve their unique character.

“I wanted to create a piece that spoke to the complexity around urban development and the history of red lining, with the goal of ultimately inspiring people to examine these topics,” said Rick Lowe. “I hope the painting sparks an exploration around these issues and creates meaningful conversations among students and visitors alike.”

One of seven founders of Project Row Houses, Lowe is

recognized for his community engagement projects and philosophical approach of “social sculpture” that uses creativity as a catalyst for change and empowerment of people in economic, social and political realms. Lowe is also known for his visual artistic repertoire that includes abstract works on paper and paintings often referencing maps and the linear patterns of dominos.

“University of Houston is in the Third Ward, and it’s important to emphasize that we are part of the community,” said Michael Guidry, Public Art UHS Curator. “The Line” literally maps out where we are and shows this geographical distinction but also asks us to consider blurring or eliminating that line and engage us in a dialogue about working together and building up the whole community.”

“UH Law Center serves as a forum of academic inquiry and scholarship sometimes focusing on societal issues,” said UH Law Center Dean Leonard Baynes. “These artworks are mirrors sometimes reflecting societal inequities referencing what our faculty teach — knowledge, ethics, compassion, and remedies designed to make the world a better place.”

Rick Lowe, The Line Photo by Will Michels, courtesy of Public Art UHS



Showcasing at the Museum of Fine Arts, Houston (MFAH) from February 25 to May 27, 2024, subsequent to its premiere at the Metropolitan Museum of Art in New York, “Vertigo of Color: Matisse, Derain, and the Origins of Fauvism” unveils, for the inaugural time in the United States, the profound impact of that legendary summer. The exhibition features 65 pieces encompassing paintings, drawings, and watercolors by Matisse and Derain, generously loaned from both national and international museums as well as private collections.

Gary Tinterow, Director and Margaret Alkek Williams Chair of the Museum of Fine Arts, Houston, commented, “The artistic endeavors of Matisse and Derain during their collaborative summer of 1905 liberated color from its conventional, representational constraints. This groundbreaking innovation emancipated them, and subsequently, those who followed, to utilize color in its pure essence, fundamentally transforming the landscape of modernist painting. ‘Vertigo of Color’ narrates this profound narrative through an unparalleled selection of artworks borrowed from a myriad of public and

André Derain, Henri Matisse, 1905 Henri Matisse, André Derain , 1905

private collections. We are immensely delighted to collaborate with the Metropolitan Museum in bringing forth this revelatory exhibition to Houston.”

During the summer of 1905, spanning over nine intense weeks, Henri Matisse (1869–1954) and André Derain (1880–1954) forged a collaborative bond that would revolutionize the trajectory of French painting. Venturing into uncharted artistic territories, these two painters fearlessly explored innovative avenues in paint, employing vibrant bursts of color, dynamic forms, and structural experimentation that promptly birthed an audaciously inventive artistic style recognized as Fauvism.

Henri Matisse & André Derain forged a collaborative bond that would revolutionize the trajectory of French painting. ”

It was within the crucible of their partnership and their relentless exploration of color and light, coupled with their bold departure from established norms, that Fauvism emerged in the early 20th century. While sojourning in the unassuming fishing village of Collioure, Matisse and Derain drew inspiration from their immediate surroundings, immersing themselves in the vibrant life of the port, the serene beaches, and the picturesque landscapes. A novel aesthetic emphasizing color and light began to take shape. Their evolving visual lexicon was a testament to sensory experiences captured in a singular moment: a swath of sand painted in vivid red, a cork oak tree outlined in hues of pink, shadows reflecting light in an array of dazzling colors.

Matisse wrote, “My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the experience of my sensibility.”

Exhibiting several paintings at the Salon d’Automne in Paris in November 1905, Matisse and Derain were derided and praised. They puzzled audiences, stirred controversy, and soon galvanized a group of contemporary artists to follow in their path—a new path in European art that radically contradicted conventional norms. Responding to the now-legendary Salon exhibition, a prominent French journalist labeled them “les Fauves,” literally “wild beasts.” A ravishing palette was at play in an evolving modernist dialogue, canvas colors later referred to as Fauvist. “Vertigo of Color: Matisse, Derain, and the Origins of Fauvism” will feature many of the most celebrated works of Fauvism. Several of the paintings haven’t been shown in the United States in half a century, including Derain’s portrait of Matisse, and Matisse’s portrait of Derain.

André Derain, Boats at the Port of Collioure , 1905, oil on canvas, private collection.

© 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

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Henri Matisse, Open Window, Collioure , 1905, oil on canvas, National Gallery of Art, Washington, collection of Mr. and Mrs. John Hay Whitney.

© 2023 Artists Rights Society (ARS), New York


Janet Sobel All O V

The Menil Collection presents “Janet Sobel: All-Over,” showcasing around thirty paintings and drawings by artist Janet Sobel (1893–1968). Running exclusively at the Menil from February 23 to August 11, 2024, the exhibition delves into Sobel’s groundbreaking role as one of the early figures in Abstract Expressionism, credited with pioneering the “all-over” painting approach to modern abstraction. The show reunites six of Sobel’s renowned “all-over” paintings for the first time in sixty years.

Rebecca Rabinow, Director of The Menil Collection, expressed excitement about presenting the vibrant and innovative works of Janet Sobel. The inspiration for this exhibition emerged in late 2020 when the Menil received a generous gift of four drawings and one

Janet Sobel Heavenly Sympathy , ca. 1947 Oil on canvas, 54×34 in. Courtesy of Crystal Bridges Museum of American Art, Bentonville, Arkansas

painting from the artist’s grandson, Len Sobel. Rabinow highlighted Sobel’s impactful but brief career, emphasizing the desire to provide her with the recognition she deserves.

Sobel embarked on her artistic journey around 1940, exploring unconventional supports like glass, tile, cardboard, envelopes, and book covers. Employing oil and enamel paints, often from her family’s costume jewelry-making business, she experimented with techniques such as dripping, blowing paint with a pipette, marbling wet colors, and tilting the support to move pigments. The painting “Milky Way” from 1945 showcases Sobel’s accomplished use of these experimental methods.

The exhibition also features Sobel’s unconventional approaches, such as using a ridged tool to carve scoops into the paint surface. Sobel’s diverse body of work includes numerous drawings where bold, bright colors in crayon, ink, and pencil intertwine faces and human figures with overgrown

floral motifs and linear patterns. The selection of works on paper further illustrates Sobel’s unique approach, employing parallel strokes to weave foreground and background into dense, interlocking shapes.

Natalie Dupêcher, Associate Curator of Modern Art at The Menil Collection, highlighted that “All-Over” will reunite many of Sobel’s paintings for the first time since her death in 1968. Notably, a group of four identically sized abstract canvases from 1946 to 1948 will be showcased, shedding light on Sobel’s groundbreaking process. The exhibition aims to initiate a broad dialogue on Sobel’s under-recognized contribution to abstract painting, positioning her at the center of the conversation.

After participating in several group shows in 1943, Sobel received her first solo show in 1944 at New York’s Puma Gallery. The exhibition was widely reviewed, and her work caught the eye of Peggy Guggenheim, the prominent dealer


and collector. That fall, Guggenheim called Sobel “the best woman painter by far in America.” In the summer of 1945, a famed group show titled The Women opened at Guggenheim’s Art of This Century gallery. Sobel’s work was shown alongside Louise Bourgeois and Leonora Carrington. As Sobel’s work continued to attract attention and gain momentum, Guggenheim gave Sobel her second solo show in 1946.

In 1961, American art critic Clement Greenberg described Sobel’s technique as “the first really all-over effect that I had seen.” With the term “all-over,” he invoked a style of abstraction that was newly emergent in the 1940s, in which the composition extended from corner to corner and edge to edge, with no apparent center. However, Sobel’s role in the development of mid-century abstraction was soon written out of history books. This exhibition, the first to focus on Sobel’s highly accomplished and influential abstract paintings, seeks to restore the artist to her rightful place in art history.

Curator Talk: Natalie Dupêcher on Janet Sobel

Sunday, April 14, 3–3:30 p.m.

Opposite: Janet

Janet Sobel in her studio. Photo courtesy of the Menil. Sobel , Untitled, ca. 1946-1948 Enamel andsand on board 17×14 in. Gift of Leonard Sobel and Family 2020.


Fr a gmented


Sculpture Month Houston (SMH) hosted its 2023 exhibition titled ‘The Sleep of Reason: The Fragmented Figure’ from October through December 2023.

Sculpture Month Houston (SMH) emerged in 2016 as an arts initiative founded by Volker Eisele and Antarctica Black, along with Tommy Gregory. This annual citywide festival serves as a platform to exhibit three-dimensional artworks and installations.

Over the past six years, SMH has curated a series of engaging celebrations, highlighting the diverse talents within the art community. The focal point for SMH’s main exhibition space is SITE Gallery Houston, a former storage facility for Mahatma rice situated within the Sawyer Yard creative campus. Comprising 34 cylindrical silos, this unique venue offers individual artists the opportunity to create site-specific works that interact with the distinct spatial qualities of the setting. While the silos present an extraordinary backdrop for art, they also pose a challenge as a site-specific arena for exhibition.

Last year’s exhibition delved into the contemporary portrayal of the human figure by artists from Houston and Texas, exploring how Cubism fundamentally reshaped perceptions of human anatomy. Peter Selz, a prominent mid-century curator at MOMA, once remarked that ‘Picasso re-invented anatomy,’ raising the pertinent question of whether the fragmentation and subsequent reconstruction of the figure stand as the most compelling symbols of the modern human condition, and if so, why it became such a widespread symbol.

Volker Eisele, the visionary behind this successful event, expressed, “It was quite challenging to find artists who have focused their primary vision on figurative work.”

The roster of selected artists for this year included Frances Bagley, Rabea Ballin, Jimmy Canales, Elizabeth Chapin, Colette Copeland, Jeff Gibbons, Suguru Hiraide, Allison Hunter, Jessica Kreutter, Yuliya Lanina, Nadin Nassar, Steve Parker, Kris Pierce, Hugo Santana, Sarah Sudhoff, and James Sullivan.

Jimmy Canales, Zuzan. Photo by Volker Eisele


“In addition to some of the more “classical” figurative artists like Frances Bagley or James Sullivan, I encountered several younger artists whose works offer a refreshing new perspective on the figure, primarily within social contexts. This unexpected discovery brings me immense satisfaction,” remarked Volker.

During the ‘Fragmented Figure’ project, two guest artists, Mark McCoin and Nathan Wheeler, introduced ‘Roz’ (Robotic Resonance) through several captivating performances. ‘Roz’ represents a groundbreaking audio-visual hybrid instrument capable of generating novel and unexpected soundscapes. Integrating an interactive robotic system into this project underscores the vast potential of exponential human creativity through a mind/machine interface. It reflects the rapidly advancing research that aims to link human brain activity with Artificial Intelligence. Recent AI roll-out events have highlighted the unpredictable and potentially threatening nature of AI, even under tightly controlled parameters.

‘Roz’ stands as an interactive and durational sonic art piece comprising a metal harp and piano strings, two robotic arms manipulating spinning felt, and an interactive computer control system. Tuned strings resonate with the frequencies of the exhibition venue, creating a remarkable soundscape rich with contrapuntal harmonic relationships. The unique acoustic surroundings of the Silos provided an ideal setting for this sonic delivery.

Above clockwise: Hugo Santana, Subject of Functional Replication . Jeff Gibbons, Ladder Nipples (Nipocchio). Kris Pierce, The Reality Show. Mark McCoin and Nathan Wheeler, “Roz” (Sonic Resonance) All photos by Volker Eisele

Houston-based artist Sarah Sudhoff showcased ‘SHIFT,’ a new durational participatory sound and video performance, as an extension of her ‘Line of Gravity’ series. Sudhoff’s work delves into the sensitive subject of domestic violence through photography, performance, and video. ‘SHIFT’ draws from personal experiences, aiming to poetically depict both the internal and external struggles faced in reclaiming a self that has been lost to abuse. Sudhoff invites the audience to partake in these experiences by contributing their voices to the artist’s narrative. By transforming the story from a singular account into a collective conversation,

she creates an opportunity for empathy, understanding, and ultimately, the reclaiming of personal empowerment. Through captivating artistry and interactive experiences, this exhibition celebrated the boundless creativity of artists and sparked meaningful conversations, leaving an indelible mark on all who participated. The immersive exhibits, where visitors entered separate spaces to interact directly with art, combined with guided tours and artist talks, helped people, including students, better grasp the art and provided educational opportunities for everyone.

Sarah Sudhoff, SHIFT Line of Gravity. Photo by John Bernhard


Exploring Hayv Kahraman’s ‘ The Foreign in Us’ at the Moody Center for the Arts: Unveiling New Works and Insights into the Artist’s Iraqi-Kurdish Roots and Research-Focused Artistry.

The Moody Center for the Arts is currently showcasing the compelling work of Hayv Kahraman, a Baghdad-born artist, in an exhibition entitled The Foreign in Us, which debuted in early January. This exhibit, on display until May 11, 2024, marks Kahraman’s inaugural solo showcase in Texas. Showcasing a blend of new and recent works deeply influenced by the artist’s Iraqi-Kurdish roots and her experiences as a refugee, the presentation resonates with her research-focused artistic approach. Through her evocative imagery and exploration of

the decolonization of both the body and nature, Kahraman fearlessly confronts societal fears and apprehensions towards otherness, advocating instead for compassion and acceptance.

“We’re honored to present Hayv Kahraman’s recent work at the Moody,” notes Alison Weaver, Suzanne Deal Booth Executive Director. “Her powerful imagery, deeply informed by her personal history, intersects with the fields of bioscience, social history, and public policy in ways we hope will invite conversations across the campus and community.”


The artist’s distinctive compositions delve into inquiries influenced by immunology, microbiology, and historical perspectives, all viewed through the prism of the marginalized body.

Often depicted in contorted postures, these representations serve as a tool to scrutinize prevailing gender norms and racial stereotypes that impact migrant communities adversely.

“I’m thrilled to bring these bodies of work together at the Moody. They are at once extremely personal yet heavily researched and mark a shift in the trajectory of my work,” said Hayv Kahraman. “To have these pieces in dialogue will elucidate the commonalities between the series and perhaps create additional divergent and speculative ideas.”

Notably, the figures that Kahraman depicts, despite being based on her own body, are an expression of a collective experience rather than an individual one, and challenge Western ideals about beauty canons and body policies while calling for a decolonization of the body. The violence conveyed through their twisted limbs alludes to the pain of diasporic life and psyche. These scenes are drawn from memories of the artist’s own history—from the trauma of displacement at a young age to reconnecting with her Kurdish heritage—and inspire the visually captivating compositions that connect her recent work to themes of tolerance and healing.

Josenhans, the curator of the exhibition,

observes that “Kahraman’s entrancing works reference different pictorial traditions—from Persian calligraphy and Florentine Mannerism to Asian calligraphy and Ebru marbling— as a means of challenging our views of what we consider ‘other’ and unveiling underlying biases in our society. Kahraman’s female figures confront the viewer, telling stories about violence and rejection, while at the same time offering a path to healing.”

Over the last five years, Kahraman’s work changed formally

and technically as she began to experiment with and research new elements that link the refugee experience to historical and scientific research. Spurred by her mother’s passing, Kahraman has developed an interest in bioscience, exploring the semantic implications of “invasive others” within the fields of immunology and microbiology. In her most recent work, such as the series of Untitled paintings, Kahraman delves into colonial botany and more specifically the work of the eighteenth-century Swedish biologist Carl von Linné who ordered the natural world through a universal, latinized system, thereby erasing Indigenous knowledge and further expanding Eurocentric belief systems.

Over the past two years, Kahraman has worked with marbling techniques to examine the historical significance and meaning of the process in artistic traditions, and the chemical reaction of the elements on various surfaces. These multilayered works also incorporate colorful geometric patterns that draw specifically from her Kurdish ancestry and reference tapestries and architecture. Several of these marbled paintings are shown for the first time in the United States and highlight this recent development in her work.

Kahraman’s paintings and drawings that are featured in the exhibition The Foreign in Us are an invitation to the viewer to consider reframing our relationship with difference in order to choose collaboration over fear.

Above from left:

Hayv Kahraman, Swallowing Antibodies, 2021Oil on linen, 42x68 in.

Private Collection, San Francisco, CA. Untitled, 2023, Oil on linen, 50x72 in.

Private Collection


Hayv Kahraman, NeuroBust no.5, 2022, Oil on linen, 35x35 in.

Courtesy of the artist and Pilar Corrias, London

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Hayv Kahraman, Untitled, (croped) 2019, Oil on linen, 60 x 60 in. Private Collection, Columbus, OH. All photos courtesy of Moody Center for the Arts


A rtful

An interview with Alison Weaver Executive Director of the Moody Center for the Arts which oversees Rice University’s Public Art program.


L eadership

ARTHUR DEMICHELI: The public art initiatives at Rice include temporary installations and a permanent collection, can you talk about the history and focus of each program?

ALISON WEAVER: The last few years have been an exciting period of positive momentum and growth for the arts at Rice University. The public art initiative began in 2008 at the behest of a group of Trustees chaired by alumnus Raymond Brochstein. Between 2008 and 2013, thirteen significant works of art were added to the campus collection, including

Jaume Plensa’s Mirror (2011) and James Turrell’s Twilight Epiphany Skyspace at the Suzanne Deal Booth Centennial Pavilion (2012). At the same time Rice initiated a policy of dedicating a percentage of construction budgets to public art.

When I was hired to open the the Moody Center for the Arts in 2015, my role included the stewardship of the public art program. At that time there were 27 works in the permanent collection, but the collection needed a central source of information and an established set of goals. In partnership


with the administration, I formed a public art committee and together we articulated a mission: to meet students, faculty, staff and visitors where they study, work and live with transformative works of art. We built a webpage for the collection on the Moody’s site and with the help of a student app club, launched an iPhone application for visitors to geolocate and learn about these engaging works of art. Since opening the Moody in 2017, we have added more than 60 works in the collection, including major acquisitions by the artists Sol LeWitt, Beverly Pepper and Ursula von Rydingsvard and important site-specific commissions by Odili Donald Odita, Tomàs Saraceno, and Pae White, among others.

AD: And these impressive milestones for the permanent collection are in addition to temporary public art programs that Moody curates?

AW: Yes, in addition to building the collection, the Moody also conceived and launched three ongoing temporary public art programs. The first series, titled Platform, was initiated with

the goal of inviting artists to respond to the art, architecture and research at Rice University with temporary interventions. Since 2017, we have commissioned seven Platform projects by artists including Nina Katchadourian, We Make Carpets, Kameelah Janan Rasheed, Edra Soto, and currently Devin Kenny. The newest Platform, debuting this spring, will be by Martha Tuttle.

The second temporary public art series is a partnership with the Core Residency Program at the Glassell School of Art, Museum of Fine Arts Houston. In this program, titled Off the Wall at the Brochstein Pavilion, we commission a graduate of the Core Program to create a site-specific work for a large wall in the central campus café, which is on view for one year. Artists to date have included Harold Mendez, Sondra Perry, Clarissa Tossin, Danielle Dean, and currently William Cordova.

The third temporary series originated during COVID. Rice mounted semi-permanent tent-like structures to provide expanded space for classes and student gatherings. We chose to commission Houston-based artists to create temporary



Ursula von Rydingsvard, Malutka II, 2018, Bronze.

Pae White, Triple Virgo, 2021. Ink on polished and electroplated stainless steel elements, cable.

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Natasha Bowdoin, Power Flower, 2021, acrylic on cut wood panel and wall. All photos by Nash Baker. reflects the networked flow of information between students, faculty and the research initiatives at Rice University.

murals for these tents, with the goal of engaging both the campus and the community in conversations in the wake of the pandemic. Since launching in 2021 commissioned artists have included Jasmine Zelaya, Allison Hunter, GONZO247 (in round one); Karin Broker, Delita Martin, Charisse Pearlina Weston and (round two); Robert Hodge, Hedwige Jacobs, Royal Sumikat (round three). Current commissions are by Preetika Rajgariah, Kenneth Tam, and Sarah Welch. We activate these installations with public events, such as a recent Diwali celebration featuring Rajgariah’s work.

AD: The permanent collection has grown in number and diversity over the last six years, what has guided the selection of artists and works during that time?

AW: There are two guiding principles that shape public art at Rice: to build on the core strengths of the foundational works in the collection, particularly in the areas of light, space and geometric abstraction, and to expand the artists represented to reflect the diversity of both Rice University and the city of Houston. We are proud to have added works by a wide range of international artists including Jose Dávila, Dinh Q. Lê, Mona Hatoum and Rana Begum, as well as Houston-based artists, including Christian Eckart, Susie Rosmarin and Natasha Bowdoin.

AD: How does the collection advance the mission of Rice University with its strong focus on STEM?

AW: Rice is committed to offering a well-rounded education for its students regardless of their area of study. The interdisciplinary nature of the Moody Center for the Arts is a testament to this commitment. Rice supports the concept that art can inspire new ways of seeing the world and prompt creative problem solving across diverse fields of inquiry. This interdisciplinary approach to research is central to Rice’s mission and public art amplifies that intention. Tomàs Saraceno’s Crux Australis 68.00 in the Ralph S. O’Connor Building for Engineering and Science, for example, echoes the natural cycles of evaporation and condensation in the atmosphere and visually

AD: How does the RPA collection complement other notable public art collections in Houston and Texas?

AW: Like the public art collections at the University of Houston and at the University of Texas, Austin, Rice University’s public art program hopes to inspire all campus visitors in unexpected ways and to offer meaningful points of connection between the campus and the community. Whether you’re a Houstonian or visiting the city for the first time, Rice’s pubic art collection offers open access to works of art you might otherwise have to travel to a major museum to experience. Not only is it free to all visitors, but it’s set amidst our beautiful 300-acre campus which is a registered arboretum. Touring the collection is a unique experience we hope more visitors will take advantage of in the year ahead.

AD: What does the future hold for the collection?

AW: We’re thrilled to have recently acquired our first work of generative art, a non-fungible token (NFT) by Houston-based artist Erick Calderon, aka SnoFro, titled Chromie Squiggle #9950 . We will soon display it on a monitor on campus, prompting discussion about the role of digital art as a relatively new medium and how algorithms shape our world. One of the areas we’re interested in is the intersection of art and technology, and how artists can help us better understand and relate to our rapidly changing world.

In addition to shaping the collection to reflect the innovative ideas and creative problem solving that defines our campus, we maintain high standards for both the quality of the works presented and the depth of engagement across a broad range of communities, because we know how transformative it can be to bring the two together through the arts. Over time, we hope that our steadfast commitment to elevating the arts and public participation inspires more people, on and off campus, to think of the Rice Public Art collection and the Moody Center for the Arts as leading lights for the arts in Houston.




Franny Koelsch with her dog Shasta.

Located in the heart of Montrose in Houston , Koelsch Gallery offers a unique fusion of art and fashion in a charming bungalow. The gallery’s bright and welcoming interior features multiple rooms that can be tailored to create distinct environments for various exhibitions. Specializing in outsider and visionary artists,

Koelsch Gallery also showcases an eclectic mix of one-of-a-kind jewelry, ceramics, books, and works by Texas painters.

Its distinctive taste and style have curated a collection that challenges artistic boundaries, redefining our perception of creativity an d the essence of being a creator.

JOHN BERNHARD: Let’s delve into the gallery’s history: could you tell us when the gallery started and what were your initial goals?

FRANNY KOELSCH: Koelsch Gallery opened in 1994 in my Montrose home, I moved the furniture upstairs and opened the doors. Previous to opening, I worked in fashion where I began

meeting artists. When I was 25, good friends who were already collecting took me to an auction of Frank Freed’s art estate. I bid and won 2 pieces of Freed’s art, I was petrified. Those purchases changed my life, I loved coming home from work and enjoying my original art. I opened the gallery with the goal of encouraging friends

Lance Letscher ghost writer, 2023, collage on board 17”x11”in. Right: Claire Cusack on the rocks, 2023, mixed media 11”x15”x2.25” in. Photos courtesy of Koelsch Gallery

and strangers to live with art. My plan was to create an inviting, warm space that focused on educating the viewer on the artist and their work.

JB: It’s evident that your passion lies in ‘Art Brut,’ distinguishing your gallery as a unique haven for outsider art in Houston. Could you elaborate on your affinity for this genre and its significance in your curation?

FK: As I grew as a dealer and collector, I found myself very drawn to outsider art and began educating myself. The raw expression and obsessive nature of the work really spoke to me. My education process began at a folk art auction in Atlanta, yearly visits to The Outsider art fair in NYC and reading London based magazine Raw Vision. I began collecting folk and outsider art while becoming involved in The Orange Show Center for Visionary Art. Once I started representing and becoming very close to some of the artists I felt like I was home. The honest expression of this art fits my self taught intuitive approach to curating.

JB: With an impressive roster of over 30 diverse artists spanning various mediums, from painters to sculptors, photographers, and jewelers, what guiding criteria drive your selection process when choosing to represent these artists?

FK: Am I passionate about the work? Can I honestly express to my clients my belief in the work and why I love it? Would I live with the work personally as well as live with it hanging in the gallery? Do I respond to the voice, quality, execution and the story that the work is telling? Has the artist stayed true to their voice?

JB: I had the pleasure of encountering the captivating work of artist Lance Letscher in your booth at Red Dot Fair in Miami last December. Do you actively participate in multiple art fairs, and how do these events contribute to the gallery’s exposure and artist representation?

FK: Not all fairs are created equal and Miami reminded me of that reality. I have to be very careful about the fairs we participate in. They are expensive and exhausting but also a reality in the market today. The Outsider art fair in NYC is a perfect match for us and very well organized and run. The fair is owned by a gallery owner versus a promoter which is key. This March at the OAF we will be focusing on Texas artists such as Lance Letscher, Claire Cusack, Carlos Hernandez, Catherine Colangelo, Kelly Moran, Gail Siptak and W. Tucker. We will also present Purvis Young, Eddie Arning, Martin Bernstein and Sally Bennett. Koelsch Gallery is going to participate in the Affordable Art Fair which presents fairs across the globe

and is coming to Austin in May 2024. AAf is owned by a British artist / Gallery owner. The Dallas art fair has grown very nicely and I plan to visit this April for the first time.

JB: Reflecting on the gallery’s history, are there any standout exhibitions that hold a special place in your memory?

FK: I get very excited about each exhibition. My last 3 exhibitions are my current standouts. We showed Lance Letscher’s amazing collages which was his first Houston exhibit in 13 years. Check out the Documentary on him, The Secret Life of Lance Letscher. Martin Bernstein recreated the found object wonderland of his previous Chicago studio. His beautiful one of a kind jewelry creations were also presented. Claire Cusack filled the gallery with her crushed found object assemblages. A client described them as raw Chamberlain(esque) sculptures with a little Kienholz.


JB: Considering the current landscape of the art market and the evolving role of galleries, how do you perceive the state-of-the-art market today and the relevance of a physical gallery space?

FK: Exhibiting art online has become essential, we have embraced this through our website and partnering with Artsy. In spite of this reality I believe in a physical space, we need a break from everything online. It is so pleasing to sit in a gallery and absorb the art. I also love catching up with my clients and their life. koelsch gallery is located in a renovated Montrose house that we love working in! We hope you can come visit us at 1020 Peden St. and enjoy.

JB: For emerging artists, what advice would you offer based on your experience in the art world?

FK: I would advise artists that they can not avoid their need to create art. Their soul depends on creating. Do not deny your god given gift and embrace that your supplemental job enables you to create. Many outsider artists created for themselves and enhanced their life by expressing their vision and voice.

JB: As you look ahead, what exciting plans or visions do you have for the gallery’s future? Are there any upcoming projects on the horizon?

FK: I am excited about showing some of our staple artists that have not had an exhibition in a few years. We are thrilled

with new work from Geoff Winningham, Amy Evans, Melinda Buie, Carl Dixon and W.Tucker that we will be presenting in the upcoming months. Time to have studio visits with Ellen Frances Tuchman, Steve Sachs and Manuel Miranda. Hoping to bring back art from Heinrich Reisenbauer who is an artist at Gugging Hospital outside of Vienna, Austria. In addition, we constantly are looking for new artists that are exciting to our program. Thanks for the interview!

Koelsch Gallery Installation view. Photo courtesy of Koelsch Gallery

Hopeful Revival

Ahead of 2024, Houston Theater District Shines in Post-Pandemic Recovery. Subscriptions are down, individual show ticket sales are up, but is it enough?

Brown Theater. Photo courtesy of the Wortham Theater Center

After Hurricane Harvey, the #MeToo Movement and social justice movements, COVID-19, and an economic recession, Houston’s arts and performance community has seen a complex and challenging time of recovery in the last few years. In 2024, the companies in Houston’s Theater District are ready to look to a future that is ultimately stabilizing (fingers crossed).

Houston’s Theater District is a 17-block area of downtown boasting 12,948 seats for live performances and 1,580 movie seats. Its venues include the Wortham Center, Alley Theatre, Hobby Center, and Jones Hall. These facilities are managed by the Houston First Corporation, the official “destination marketing organization” of the city, which also manages the George R. Brown Convention Center and most of the green spaces in downtown Houston.

During the pandemic, most companies closed shows for the safety of their patrons. This resulted in not only a loss of ticket sales but also a loss in subscribers and grant funding. Audiences changed how they interact with the performing arts, prioritizing health and safety. An economic recession always results in a downturn in philanthropy and funding, but amid a constant onslaught of streaming subscription increases and high inflation, younger audiences these organizations hope to target are often stretched too far to participate, let alone donate, while supporters like foundations are in a “wait and see” model.


One of the things that makes Houston special is how aware its residents are of the city’s magical, singular arts community. Houston is one of only five cities in the U.S. with permanent companies in the major performing arts disciplines: ballet, opera, symphony, and theater. But with the noise of the last few years, it’s clear that for the companies of Houston Theater District, it’s imperative that Houston’s arts lovers—and funders—show up again—both in person and with their wallets.

As Hilary Hart, chair of Houston Theater District, puts it, “Arts organizations across the city and across the country are trending about thirty percent behind pre-pandemic levels. We are not seeing the same level of audiences come back yet. I think there’s still hope, but hope is not a strategy.”

The city of Houston remains committed to the arts and spent

over $5 million in grant funding as part of the American Rescue Plan Act funds to support arts and cultural organizations in Houston in post-pandemic recovery. In September of 2023, formerly Jones Plaza was renovated into 1.5-acre Lynn Wyatt Square, a 26.5-million-dollar project with a promenade, gardens, cascading fountain, and restaurant space.

One company of the Houston Theater District leveraging massive fundraising efforts is the Alley Theatre, which received a $25 million matching grant from an anonymous donor in April of 2023, prompting the renaming of 615 Texas Avenue to the “Meredith J. Long Theatre Center” as part of the bold $80 million Vision for the Future Campaign. This comes after Hurricane Harvey decimated the Alley with more than nineteen feet of water on the lower level, a mere two years after the Alley had finished a $46.5 million former renovation that started in 2014. The Alley also weathered the 2018 ousting of its former artistic director, Gregory Boyd, under misconduct allegations.

As Alley Theatre managing director Dean Gladden says, “We’re worried that the only thing left is the locusts.” The Alley is currently focused on its future, planning its finances forward as far as the year 3033. But like all the organizations in Houston Theatre District, it’s still focused on recovery. “The challenge remains that we lost thirty percent of our subscribers. We’re still working to get that back, and that’s going to take several years,” Gladden notes.

The pandemic also saw new challenges for Houston Theatre District’s growth in the form of social and economic inequality. In 2020, protesters demanding justice for George Floyd clashed with police in downtown. The pandemic disproportionately impacted young people, people of color, and the unhoused, highlighting the need for a redirection of funds to these communities. In a recent election poll from the Rice University Kinder

TUTS, The secret of my Success Photo by Melissa Taylor
“’s imperative that Houston’s arts lovers—and funders— show up again—both in person and with their wallets. ”

Institute for Urban Research, Houstonians said their top two priorities for the city were reducing crime and improving housing.

In 2023, about 9% of Houston’s unhoused cited COVID-19 as a cause, while 60% of those unhoused due to a natural disaster cited Hurricane Harvey as a cause, according to the Homeless Count & Survey by The Way Home and the Coalition for the Homeless. In June 2023, the city removed the Central Library from its list of cooling centers, receiving criticism about the impact on unhoused people. Meanwhile, the city has gone viral on TikTok (and not in a good way) for repeatedly fining volunteers of the group Food Not Bombs who feed the unhoused outside the library.

These types of events skew public perception. Going into 2024, Houston has decreased both crime and its unhoused numbers, the latter so much so that mayors from other large cities even visited Houston in 2023 to learn about Harris County’s collaborative method of working with multiple nonprofits to provide resources to the unhoused. Crime is trending down in Houston by 18 percent, according to a report by Houston Police Chief Troy Finner in early 2023. Still, it’s unclear if these improvements are filtering down to audiences who want to support the arts but don’t feel safe yet in public spaces.

outpacing previous years, and audience diversity and median age is, as Dastoor put it, “exploding,” with about 70% of single tickets to new buyers. Programming appears to be part of the special sauce, with productions highlighting diverse performers and themes like Intelligence, a Civil War historical about Mary Jane Bowser, an enslaved woman spy, and Salome, a U.S. premiere of a production based on the risqué Oscar Wilde play that deals with sexuality and crime.

“ In 2024, the Houston Theater District is strategically positioned with a hopeful outlook for the future. ”

Theatre Under the Stars (TUTS) executive director Hilary Hart, who is also chair of Houston Theater District, emphasizes the importance of reducing barriers to access. One creative strategy was the launch of Houston Theater Week in 2022, which allows audiences to purchase a Buy One, Get One Free ticket to 17 performing arts organizations in Houston. “We wanted it to be about the importance of highlighting the importance of art and also for so many people that don’t realize how rich and deep the breadth of art that is available and accessible here in the city of Houston,” Hart says.

Houston Grand Opera is one company that seems to have hit the sweet spot with programming appealing to changing demographics. The company, which had a bit of a reputation for being outdated and was tangentially tied to a high-profile sexual abuse case against David Daniels, former HGO singer, was perhaps overdue for change. In 2021, Khori Dastoor was appointed the new General Director and CEO. Dastoor’s changes have attempted to embrace a post-pandemic world. “[COVID-19] has left sort of lingering changes, such as a more flexible work-from-home environment that impacts our team culture and an awareness that people are going to prioritize their health in a way that’s different from the Show Must Go On mentality,” Dastoor explains.

Dastoor brought in a marketing team with a history in highsales environments like the Rockets, Texans, and the rodeo. HGO also added six new board members to build a team that reflects the city’s demographics. In 2023, HGO received the largest single gift in the company’s history, ticket sales are

Another strategy has been a return to nostalgia. Houston Theater District’s 2023 holiday season was its biggest yet, with audiences returning for cozy classics like Alley’s Christmas Carol, The Houston Ballet’s Nutcracker, TUTS’ The Ugly XMAS Sweater Musical and Cinderella, Da Camera’s holiday jazz series “A Little Day Music”, and the Houston Symphony’s Nightmare Before Christmas.

Lastly, holdovers from the pandemic are not entirely dead. The Houston Symphony’s Chief marketing officer, Gwen Watkins, notes that audiences are still tuning in for a weekly Saturdaynight livestream for a reduced ticket cost, adding that “You can recreate the concert experience in your own home.” For audiences with disabilities and chronic illness, these virtual events can be a lifeline.

The 2024 season for Houston Theater District companies kicks off with a revitalized emphasis on programming designed to attract new and diverse audiences. There is a steadfast commitment to commissioning innovative new works, coupled with a strategic and creative marketing approach aimed at enhancing the overall visitor experience. In 2024, the Houston Theater District is strategically positioned with a hopeful outlook for the future.




The Orange Show Center for Visionary Art is entering a new era!

The Orange Show Center for Visionary Art, which began in 1956 as a postal worker’s monument to oranges and their health benefits, is buzzing with activity. From 1956 to 1979, Jefferson Davis McKissack built the Orange Show Monument by hand in the East End of Houston. McKissack died just after he completed the monument, so a non-profit was formed to protect the nearly 3,000-square-foot art environment. Over the years, the organization has grown to include the Beer Can House, the Art Car Parade, and Smither Park.

The executive director of the Orange Show Center for Visionary Art, Tommy Lee Pace, explains that the organization strives to be “community-centered” and “empower individuals to be creative.” The mission to “celebrate the artist in everyone” is fundamental to the organization. To further


that mission, the Orange Show is planning a major campus expansion. Pace shares that the goal is to “build a world-class center for visionary and self-taught art in the city of Houston that is so represented by such fiercely independent pathos of the Orange Show – that ordinary people can make extraordinary things.” Designed by Rogers Partners, the expanded campus, which is tentatively scheduled to open in late 2026 or early 2027, will transform an existing warehouse into a permanent space for exhibitions and performances.

While expanding the campus, the organization is also prioritizing the preservation of its visionary art environments. In 2022, the Orange Show was awarded the State of America’s Treasures Grant by the National Park Service to preserve the Orange Show Monument. This incredibly prestigious matching

Rendering of the Orange Show Center for Visionary Art’s future entrance and ramp. Courtesy of the Orange Show Center for Visionary Art, Houston, and Rogers Partners.

grant not only recognizes the significance of the site but also provides half of the funds necessary to preserve the monument.

After receiving the grant, the Orange Show began working with Shane Winter, a conservator who focuses on visionary art environments. He worked with the Kohler Foundation for many years to restore sites like St. Eom’s Pasaquan in Buena Visita, Georgia, and S.P Dinsmoor’s Garden of Eden in Lucas, Kansas, one of the original visionary art sites in the United States.

The focus of this multi-year preservation project, which started in earnest in early 2023, is to reinforce beneath the monument since there is no foundation. This reinforcement will make the monument much more stable and safer for visitors. The conservators will work in stages in different areas of the site while preserving and maintaining as much of the original site.

Shane Winter and the Orange Show are determined to keep the public involved in this process. “The monument is still there because of the people who have volunteered for over 40 years to keep the project going,” Winter says. “There probably would not be a site to fix without them. They have cared for the site and will probably be the people who care for the site in the future.”

Since 2022, the Orange Show has organized the Conservation Corps, a volunteer project that includes the local community in the conservation of the site. Guided by conservators and local artists, volunteers gain hands-on experience in a monthly workshop. In an exciting development, Winter and the Orange Show will offer an introductory course in the conservation of visionary art at the University of Houston in the fall of 2024.

Rendering of the Orange Show Monument.

Opposite page: Rendering of an exhibition in the future Orange Show Warehouse. Images courtesy of the Orange Show Center for Visionary Art, and Rogers Partners.

Meanwhile, the organization continues to present many events, including the 37th iteration of the beloved Art Car Parade, which is the largest free cultural event in Houston. The Orange Show hosts the Happenings, the monthly experimental performance and open mic showcase, and a variety of classes and workshops. According to curator of programs, Pete Gershon, the Orange Show is “always looking for opportunities to bring performers who will do workshops with the local community and bring them into the action.”

Plans are underway to bring artist David Best, renowned for building intricate, ephemeral temples out of recycled wood, to Houston this spring as the 2024 artist-in-residence. Best has constructed monumental, non-denominational temples at Burning Man for many years and around the world in public spaces. The artist intends for the temples to be healing spaces that encourage deep emotion. On the Orange Show campus, Best will work with the community to construct a temple in memorial to Houston’s creatives who have died in recent years. The temple will remain on view and a significant part of programming until the end of the year, when the structure will be burned in a public ceremony, releasing shared trauma in a cathartic event. With its expansion plans, commitment to preserving visionary art environments, and ongoing dedication to community involvement, the Orange Show Center for Visionary Art continues to honor its roots while embracing innovation and inclusivity. As it moves forward, it remains a testament to the power of art to inspire, unite, and transform lives.

“ ”






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Emilie Duval is a formidable presence, a reckoning force in her own right. Her thoughtful, meticulous, and meditated ways have set her apart from the hundreds of applicants in the 2024 ArtHouston Artist of the Year Award.

Growing up in France, Emilie would skip school to go to the museums. From a young age, she had a passion for two things: art and economics. This passion led her to study law and art history, a perfect balance in learning about the perspective of humanity–which I have come to realize is her third passion in life: people.

76 ARTHOUSTON Artist of the Year WINNER
Emilie Duval, Elysium, the New Era
48 in.
2024, Acrylic, ink, marker, collages, spray paint on canvas
72 x
Emilie Duval, 24 Structural Star and Dust , 2021, acrylic, ink, marker, collages, spray paint on canvas, 72x48 in.
“With this freedom, she is able to open doors, start conversations and create art that has an impact.”

Emilie is not only an artist but also possesses the qualities necessary to excel as an anthropologist, driven by her profound fascination with people, societies, economies, and geopolitical structures. Her sole goal is to open the conversation and push her audience to think harder about our realities. Each of her series dives into a widely politicized, hot topic, that she conveys in a very thoughtful, balanced way. Her series are organized into dialogues centered around the use of Artificial Intelligence, the Federal Reserve, border security, and more. She teeters on the line of aesthetic and truth in each piece, as she reminds herself, “people like to see nice things, they don’t want to know the truth”.

Completely self-taught, Emilie found Americans to be more inclusive and accepting of artists who did not have the proper upbringing or education, in comparison to those in France. Texas became her landing spot, alongside her husband, and she has definitely made her mark here. She most recently has been chosen, among 12 artists, for a site-specific art commission at the new Mickey Leland International Terminal and International Central Processor at George Bush Intercontinental Airport. The commission is sponsored by Houston Airports and the City of Houston through MOCA’s Civic Art Program, with an investment of over $4 million.

The natural light perfectly highlights Emilie’s spotless studiotownhome nestled next to the museum district of Houston. I had never seen an art studio so clean and organized before. Emilie prefers the minimalist, neat approach to help counteract the disarray found in her brain. Her mind seems to run at 95 mph, nonstop, in two languages. Concepts and ideas run rampant, always driving her to the next venture.

Emilie not only fascinated me with her work and her vision, but she also inspired me to get more involved, to have harder conversations. She is such a kind, knowledgeable, accepting soul that truly wants to learn and share. With every series she produces, she spends ample time diving into literature and

deciphering what is true and false. Pieces of her research can even be found as collage work on her canvas-- an artistic fact check. She wants to urge people to see things from a different perspective, “to get out of your bubble. It is too easy to stay in,” and so much harder to get out. She does the hard part for us. She starts the conversation, she dives deep into research and then she puts it all together on a visually intricate, yet aesthetically pleasing canvas for us. She dives deep into books like Phenomenology of Perception and The Origins of Totalitarianism , as well as podcasts to gain more knowledge about the subject at hand. With an innate passion for economics and geopolitics, her series are inspired by events of interest as well as current events, like the war in Ukraine producing series ‘The Garden of Yalta’.

Her newest series, ‘Future Paradise, Landscapes of Digital Existences’ really resonated with me as it plays with our sense of reality in this current digital age. So much of our life today happens through our phones, which she took inspiration from in shape and texture for this series, that it is hard to tell what is real and what isn’t. “We are losing touch with reality, losing consciousness” she adds. With the rapid growth of Artificial Intelligence, it is difficult to sift through the misinformation. Emilie embraces these changes and strategically uses AI to create certain aspects in each piece to symbolize the intertwining of reality and manufactured “fact”.

Being an artist allows her to be completely free. Any other profession in law, politics, or education comes with boundaries and boxes that Emilie cannot find herself to confine in. “Freedom is invaluable” she notes. With this freedom, she is able to open doors, start conversations, and create art that has an impact. We all have an impact in this world, we need to educate ourselves and engage more. Some may have more freedom than others, but at the end of the day, we all have a voice and I hope Emilie inspires you to use yours.

Emilie Duval, The Garden and the Origin, 2023, Acrylic, ink, marker, collages, spray paint on canvas Led lights on the back of the canvas, 72 x 48 in.


of Curiosity,”

the remarkable

of fine art photographer JP Terlizzi.


the enduring symbolism of the table as a powerful emblem of unity and togetherness throughout history. Beyond its utilitarian function, the table becomes a profound expression of the human spirit’s inherent longing for connection, whether it be in commemorating a significant event or simply coming together in shared moments.

The collection, an extension of “The Good Dishes” series, features contemporary still-lifes inspired by Terlizzi’s fine china collection. Each tablescape is a visual testament to tradition and connections forged through shared meals.

The “Creatures of Curiosity” collection takes a distinctive turn by incorporating a diverse array of creatures, including exotic birds, tigers, cheetahs, snakes, insects, and monkeys. This lavish visual feast goes beyond traditional still-life representations, showcasing a vibrant spectrum of colors, intricate patterns, and unconventional food pairings. Through this eclectic mix, the exhibition suggests themes of temptation and indulgence, portraying the richness of nourishment, the opulence of life, and the allure of exotic luxuries.

JP Terlizzi’s masterful use of composition and symbolism in the collection invites viewers to contemplate the deeper meanings embedded in the act of gathering around a table.



Early January, McClain Gallery unveiled Shane Tolbert’s third solo exhibition, “Memory Dilemma.” This transformative showcase delves into the artist’s process-based work, introducing figurative drawings alongside his established painting and collage pieces. Tolbert’s layering technique takes center stage in the drawings, revealing a cyclic exploration of imagery, thought processes, and thematic refinement through playful and automatic responses.

Within the realm of the studio, Tolbert continues his experimental practice, harnessing the space as a conduit for translating memories and experiences stored in his body onto canvas or paper. The emotional accumulation of daily studio encounters manifests in the work, akin to sedimentary layers shaped by mudslides and volcanic ash.

Studio ephemera, like painter’s tape, becomes a poignant element in the finished pieces, preserving the essence of the creative space’s origin. Tolbert’s trusted painting techniques, including masking and acrylic paint pours on plastic sheeting, serve as symbolic layers in the artistic process.

Juggling roles as a working artist, co-manager of Best Western in Santa Fe with James Sterling Pitt, and arts administrator at a local college, Tolbert understands the myriad daily demands. “Memory Dilemma” intricately weaves Tolbert’s subconscious responses into a tapestry, unveiling his unique approach to art-making amidst the distractions of everyday life.

Shane Tolbert, Fractured Cowboy , 2022, acrylic, ink, collage on paper, 25 x 19 in.
JP Terlizzi, Spode wildcat prowl with rosemary pomegranate , (close-up) 2023, Dye Sublimation on Aluminum, 23 x 35 in.
Koslov Larsen showcased the solo exhibition “Creatures featuring work In exhibition, Terlizzi explores



Deborah Colton Gallery’s latest exhibition brings forth a delightful and whimsical display of artist and songwriter Daniel Johnston. Known for creating a captivating imaginary cartoon universe through his drawings, Johnston’s work is characterized by vibrant dialog bubbles and a refreshingly honest, insightful philosophy.

Central to Johnston’s fantastical realm are his endearing duck characters, serving as the embodiment of fun-loving heroes always ready for adventure and eager to contribute to the betterment of the world. These charming ducks, initially depicted with wings and webbed feet, gradually transformed into characters with human-like arms and legs as Johnston explored various roles for them. From cowboys and ancient warriors to superheroes and space travelers, the ducks effortlessly adapt to diverse settings.

A standout theme in Johnston’s creations is his fascination with military scenarios, particularly during World War II. The “Ducks Wars” exhibit pays homage to this aspect of his work, showcasing the ducks as military personnel equipped with uniforms, weapons, and an array of war vehicles. This preference is deeply rooted in Johnston’s admiration for his father, William Johnston, a Flying Tiger pilot during the war.

While the exhibition is a celebration of the whimsical military adventures of the ducks, it resonates eerily with current global events. Johnston injects his drawings with a blend of quirky humor and profound reflections on the nature of war — delving into its horrors, its roots in greed, and the somber consequences it begets. On view until April 27, 2024.



Houston-based artist Randall Mosman and Copenhagen’s Anders Moseholm join forces in the captivating exhibition “Things Fall Apart” at Redbud Arts Center. Building on their previous collaboration at Devin Borden Gallery in 2019, this 2024 showcase marks a profound exploration of their shared passion for figurative painting.

The exhibition’s title reflects the artists’ approach, capturing a mental reality that is simultaneously beautiful and coherent, yet distorted and unsettling. It delves into the portrayal of doubt, where everything is in constant flux yet harmoniously interconnected. Inspired by a primal connection to expressing the incomprehensible, Mosman and Moseholm draw parallels to Stone Age depictions on cave walls.

Randall Mosman, born in New Orleans, holds an MFA in Painting and Drawing from Houston Baptist University, earned in 2012. On the other hand, Anders Moseholm, originally from a small Danish village, embarked on a creative journey that led to enrollment at the Royal Art Academy of Fine Arts in Copenhagen in 1989. Initially drawn to formal monochrome paintings, Moseholm later embraced a more intuitive approach inspired by Ad Reinhardt’s concept of “a feeling of rightness in good artwork.”

In essence, “Things Fall Apart” is a testament to the artists’ exploration of doubt, change, and the beauty found within the chaos—a sentiment encapsulated by Leonard Cohen’s words: “There is a crack, a crack in everything. That’s how the light gets in.”

Daniel Johnston, All in a Dream, 2010, Colored Marker on Card Stock Paper 11x8.5 in.
Daniel Johnston, Now War Becomes a Game, 2010, Colored Marker on Card Stock Paper 11x8.5 in. Randall Moseman, Untitled #4, 2023, Mixed media, 20x18 in. Anders Moseholm, Infinite Mapping of Changing Worlds, 2023, Oil on canvas, 60x48 in.

2024 Artist of the Year

Madeleine Lance


Instagram: @mk.lance

Michael Temple


Instagram: @maddkyng

Michael Temple, Black Boy King , Sewn Canvas on Canvas, 29x49 in. Madeleine Lance, MichaelJackson , Mixed media on canvas, 60x36 in.

Susan Budge


Instagram: @budgeceramic7


Instagram: @brendabuntenschloesser

Layla Moody


Instagram: @laylamoodyartdesign

Layla Moody, Secret Garden, 2023, Alcohol Ink on wood board. Resin Finish. 24x18 in. Susan Budge, Bowerbird , Ceramic, 80x50x50 in. Brenda Schloesser Brenda Schloesser Looking Beyond , 2022, Dyed cotton fabric, cotton batting, raw ginned cotton, and woven cotton yarn. On a wood panel, 40x20 in.


Tell us a little bit about yourself.

I’m a Cultural Architect, Art Advisor, and Interdisciplinary Artist, rooted in the vibrant heart of Texas, with my artistic and administrative roots starting in Chicago. My transformative journey spans continents, leaving an indelible mark on cultural landscapes as an art administrator, consultant, and creative. From curating local exhibitions to participating in global festivals, my focus prioritizes creativity and inclusivity, shaping diverse cultural narratives. While summarizing such a rich journey is challenging, the essence lies in a commitment to art’s transformative power and fostering inclusivity across various cultural realms.

Thematically, what is your work usually about?

Thematically, my work in Beyond the Binary, launched in 2016, delves into the interconnectedness of the self-identified

woman’s body and nature. This ongoing multimedia series and social practice explore the parallels between the complexity of nature and the perception of women labeled as complex in societal norms. From anatomy to personal safety, the work critically examines the impact of age, race, class, respectability, politics, and gender on women’s experiences. I choose to focus on these issues to empower women, especially women of color, to lead in documenting their stories, fostering a global sisterhood rooted in trust, liberation, and love.

What upcoming projects are you working on?

Currently collaborating with Fresh Arts on the gala auction, I’m also celebrating the completion of my first book as an artist. Nearly a decade in the making, this journey has taught me to trust the relationship with my work and embrace the unfolding creative process.

What was the very first independent creative project you worked on?

Recalling creative projects from my childhood remains a challenge, but I view them as relevant and integral to my current artistic practice. That said, I’m sure it was some sort of written story, poem, or collage.

What types of mediums do you work in?

While photography is my primary medium, I’ve also delved into sculpture and floral design as part of my creative exploration. My comfort zone is behind the camera, collaborating with a single co-creator or “subject.”

What recent projects are you most proud of?

Over the past few years, I’ve been engaged in a multimedia process that combines textile work, natural dyes, stitching, and my photography. It wasn’t until the end of 2022 that I finally envisioned how I wanted this amalgamation to manifest. My personal art process tends to be deliberate and unhurried, and I take pride in remaining obedient to that deliberate pace.

Is having a “successful career” as an artist something that is important to you?

Having a successful life takes precedence over a narrowly defined “successful career” as an artist. A fulfilling art practice is integral to this broader success. I define success in terms of achieving balance, maintaining clarity, and sustaining consistency in both life and work.

Why do you create art?

It is what I prefer to do with my life.

Anything else you wish to add?

Embrace the fullest expression.

88 ARTHOUSTON interview
Janice Bond portrait by Troy Ezequiel Montes Right: Janice Bond, sankofa, from the Beyond the Binary series 2016 Archival Pigment Print.


Fresh Arts is a 501c3 Houston-based nonprofit dedicated to empowering local artists through programs that build knowledge, amplify local resources, and connect communities through art. Fresh Arts ’ programming primarily serves the Greater Houston region’s diverse community of independent artists, particularly those who are committed to life-long learning and crave more connection with other artists and broader communities. By placing artists at the center, Fresh Arts is positioned to help them grow their artistic careers and networks. We know that successfully thriving artists are essential to a healthy arts economy in which we can all enjoy more arts experiences. Learn more about Fresh Arts by visiting their website or following them on social media @freshartsorg


Could you please share some insights into your background and interests?

I was born and raised in Mexico City to Mexican, Armenian, and Spanish immigrants. From a very young age, I had a natural inclination to create. I have always found joy in various forms of artistic expression, whether it was drawing and painting, especially the human figure, dancing, or modifying objects to infuse them with originality. I was also passionate about sports, with competitive swimming becoming my main focus, along with some extreme sports. Later on, I discovered fulfillment in practicing yoga, all of which would contribute to shaping my art in the future.

Fueled by a deep passion for the arts, I always harbored the dream of becoming a professional artist. This aspiration led me to pursue a formal education in graphic design and postgraduate diplomas

in multimedia, animation, abstract art, and portraiture. The turning point in my artistic journey came in 2007 when I was relocated with my husband and four children to Chicago and I made the decision to pursue a full-time career as an independent artist. This shift marked a profound moment of personal and professional evolution, allowing me to focus on my true passion and dedicate myself entirely to the world of art.

What themes do you typically explore in your work?

I have always maintain a profound passion for the human form, and figurative painting has been my primary focus since childhood. I eagerly embrace the challenge of capturing the complexity and beauty of anatomy in its gracious, expressive movement and precise forms. Witnessing the figures take shape as I apply layers of paint, creating shadows and light,

never fails to mesmerize me. Fueled by this fascination and my passion for dance, swimming, and yoga, I am on a continuous quest to capture the enchantment of energy manifested through the graceful movements of the human body, intertwined with a profound connection to the soul. My intention is to transform figures into dynamic, fluid entities by integrating dance, air, and water, creating an otherworldly likeness. My art is a concise yet rich exploration of the magic within motion and the transformative power of existence.

In which artistic mediums do you usually express your creativity?

The vast majority of medium in my paintings and my preference of choice throughout the years has been oils. In my recent works, my process involves inks for underpainting, oil glazings to infuse color and create the forms, acrylic impasto applied with palette knives, and molded with my fingers to lend depth in some areas to create a 3D effect, and 24K gold gilding to cast luminous reflections that will preserve through time.

What are your thoughts on being chosen as the Featured Artist for the Bayou City Art Festival?

I am incredibly grateful that Bayou City Art Festival has selected me as the Featured Artist. This holds immense personal and artistic significance for me. Bayou City Art Festival was among my initial art shows in Texas, and it embraced my art in a truly extraordinary manner, swiftly becoming one of my favorite shows and creating a profound emotional connection to Houston.The Bayou City Art Festival team consistently exceeds expectations in organizing an outstanding Art Festival and I eagerly anticipate my return every year. This moment is a cause for celebration and inspires me to continue expanding my artistic horizon.

90 ARTHOUSTON interview


IIndustrial advances and new materials so fueled the Futurist imagination in early twentieth-century Italy as to elevate the form and function of machinery into examples of “universal dynamism.” Technological innovation and avantgarde aesthetics have since coalesced in distinctly modern and contemporary settings both ambitious public works and more intimate designs for living. Mexico City in the 1990s was one such cultural nexus seeking its own form of universal dynamism among artists, critics, curators, filmmakers, musicians, and writers. Nationals and foreigners comprised various artistic camps grappling at the time with global market forces, aesthetic tendencies, commercial galleries, state and private museums, and the international system that linked Mexico to cultural institutions in Europe and the United States. Artist, architect, and designer Mauricio Rodríguez Anza began

his career during this foundational moment in Mexico. He was drawn equally to the iconic architects-designers of the twentieth century such as Marcel Breuer, Alvar Aalto and Ludwig Mies van der Rohe, and to the late 1960s radical design movement in Italy that included such design studios as Archizoom, Superstudio, Global Tools, and 9999. Mexican art critic José Manuel Springer noted that Rodríguez Anza had countered an “orthodox understanding of national identity” in Mexico that had hindered innovation in design and architecture. To that end, he began to combine pre-modern and avant-garde references, employing pre-Hispanic compositional elements, an industrial grammar in the use of material and surface, and a more boldly stylized economy of line in woodwork and cast or wrought metal. With several monographs over four decades devoted to his work, the synergies he animates between art, design, and


architecture can be traced back to the 1992 exhibitions Cuatro Objetos (Four Objects] at the Museo Carrillo Gil and Via Alterna (Alternate Route) at the Museo del Chopo, and to his 1989-1992 series of chairs. Individual works reflected a range of unique attitudes, even as all were imbued with a restless metropolitan sensibility and high theoretical stakes. Having made Houston his home since 1998, he co-founded the Anza Falco Foundation and the DMH (Design Museum Houston), whose exhibition programming from 2009-2011 included The Pre-Hispanic and the Modern, a curatorial look at the creative upsurge of national art and culture following the Mexican Revolution.

Incorporating digital design into his practice with the use of vector drawing and 3D platforms. Rodríguez Anza has made public art the focus of his recent endeavors. In his ongoing project entitled The Transitional Museum, he reimagines the


Mauricio Rodriguez Anza

Dazed, 2019 sculpture and Departure 2018 print, Installation and architectural reconversion, Houston

Jaz, 2018, Stainless Steel chair

Quadro, in Casa Anza, Jajalpa, Mexico

Photos courtesy of Vivianne Falco

relationship between a preordained site and its living community by rearranging the compositional elements that connect a building’s façade to its adjacent environment. The most recent of these activations have involved a decisive large-scale object, one of various abstract forms derived from a formal vocabulary that even points back to his iconic coat rack of 1988, a definitive reference in Mexican design.

Design philosopher Vilém Flusser once wrote that humanmade forms are not just the resolution of a problem but, at their best, the invitation to an inter-subjective dialogue mediated between people in tangible space. In his unique design objects and in his expansive installations, Mauricio Rodríguez Anza rethinks the dynamics of form and function with works whose sculptural dimension lends site-specific meaning to urban surroundings—that is, to interpersonal possibility and connection.



Set at the beginning of the 21st century, this story follows Brett Beasley, a middle-aged ad executive and former Navy SEAL, as he embarks on a journey to West Texas in an attempt to escape his troubled past. Along the way, he crosses paths with Kathy, a young woman who is lost and headed to California. Over the course of five days, their brief yet intense affair sets his passion ablaze. As the story unfolds, Brett realizes that life’s most important moments do not always play out as you think as he embraces his destiny.

“This heartfelt story, etched with sincerity, serves as a poignant reminder that life’s true essence lies in audaciously crafting our destinies.”

“Drift of Fate” by John Bernhard takes readers on a journey through an intricate tapestry of love and marriage, the storm of divorce and grief, and the foundational pillars of life that inevitably lead each of us to our fate and fortune. Though there may be missteps along the way, these are the footprints that guide us toward our most profound experiences.

“Drift of Fate” succeeds not only as a love story but as a nuanced exploration of the human experience.”

“This is not just a tale; it’s a sprawling epic, a literary bonfire fueled by the desire to confront the chaotic swirl of existence and mold it into a narrative as exuberant and unpredictable as love itself.”

Available May 2024 in bookstores everywhere
94 ARTHOUSTON 713-907-5873 Karren Art Advisory is a full-service art advisory and appraisal firm specializing in modern and contemporary art, photography, and digital art. Art Acquisitions Cataloguing and Inventory Collection Management Fine Art Appraisals Research and Education Art











ArtHouston is published semi-annually by ArtHouston Magazine, LLC. Printed in Mexico. ©Copyright 2022. All right reserved. The entire contents of ArtHouston may not be reproduced in any matter, either in part or in whole, without written permission from the publisher. In addition, the artists within hold copyrights on their images and essays. Any use of or copying of their works without their written permission is in violation of the copyright law. ArtHouston Magazine, LLC. is not responsible in any way for mispellings, omissions, incorrect phone numbers or addresses. Unsolicited manuscripts, and other materials must be accompanied by postage and a self-addressed return envelope. ArtHouston is not responsible for unsolicited submissions. Address all correspondence to: ArtHouston Magazine, 9114 N. Allegro St. Houston, TX 77080.



Arthur Demicheli is a freelance copywriter and photographer from New York who has worked in the marketing, advertising, and publishing industries since 1992.

Arthur has been a dynamic part of ArtHouston’s team for many years. He holds an MA in Humanities from the University of Geneva. He is an avid fan of art, film, and photography history.

Haley Berkman Karren is an art advisor, appraiser, independent curator, and writer. She is the Founder and Director of Karren Art Advisory, where she specializes in modern and contemporary art, photography, and digital art. She has many years of curatorial experience at international arts institutions. She holds a B.A. in Art History from Washington University in St. Louis and an M.A. in Art History from the Institute of Fine Arts, NYU.

Nash Baker is a photographer specializing in documenting art and artists at work.

The Moody Center’s architecture offered unique challenges and possibilities by way of its multiple-sized galleries and genres. Previously, he worked for over a decade with artists at Rice University Art Gallery, documenting their creative processes and site-specific installations.

Matthew Lynch is a graduate of Rollins College where he earned a degree in Economics. He works for ArtHouston, where he explores his passion for the arts and storytelling. ArtHouston enables Matthew to think differently about the world and urges his readers to do the same. He also loves traveling, music, golf, pickleball and spending time with friends.

Sabrina Bernhard is a graduate from the University of Texas at Austin, where she received a BA in International Relations and in French. She is working with ArtHouston to fulfill her passion for the arts, while further developing Houston’s admirable cross-cultural reputation. Sabrina is passionate about travelling, la Francophonie, music, and culture.

Holly Walrath is a freelance editor and the Associate Director of Writespace, a nonprofit literary center in Houston, Texas. She attended the University of Texas at Austin for her B.A. in English and the University of Denver for her M.L.A in Creative Writing. Her writing has appeared or is forthcoming in Pulp Literature, The Vestal Review, and Spider Road Press.

Roberto Tejada is an award-winning poet, author of art histories, literary translator, and the Hugh Roy and Lillie Cranz Cullen Distinguished Professor at the University of Houston. His recent publications include Still Nowhere in an Empty Vastness (Noemi, 2019) and Why the Assembly Disbanded (Fordham University Press, 2022.) Photo by Paola Valenzuela.

Hall Puckett is a photographer based in Houston. Early on when friends and family asked him what he was going to do with a major in psychology and a minor in photography his response was “I guess I’ll just have to take pictures of crazy people!” Funny how things work out. He currently lives off the north loop in a “transitional neighborhood.” with his wife, two rescue dogs, and a cat named Lalo.

An art venture capital investor, a former Professor of Marketing at the Universidad Anahuac, Mexico City. Member of the Latino Advisory Committee at the MFAH, and member of the board of the Museum of Texas Art. While what he describes as “Latino Art is not Latin American Art”, he is a maverick of “Latino and Chicano Art an underrepresented american style”.

Nash Baker PHOTOGRAPHER William Hanhausen WRITER Sabrina Bernhard WRITER Roberto Tejada WRITER, POET Arthur Demicheli WRITER, PHOTOGRAPHER Hall Puckett PHOTOGRAPHER Holly Walrath EDITOR, WRITER Haley Berkman Karren WRITER Matthew Lynch WRITER

editor’s pick Kelly O’Brien

The Cistern was one of the City of Houston’s first underground drinking-water reservoirs. Built in 1926, it provided decades of service until it was decommissioned in 2007 due to an irreparable leak. The 87,500-square-foot expanse includes 25-foot tall concrete columns set row upon row, hovering over two inches of water on the reservoir’s floor. Recognizing the significance of the highly unusual space and with generous support from The Brown Foundation, Buffalo Bayou Partnership repurposed the Cistern into a magnificent public space. In addition to tours highlighting the history and architecture of this unique industrial site, the Cistern houses periodic art installations.

Cistern Illuminated offers a captivating winter lighting experience from November to January, exclusively crafted for the Buffalo Bayou Park Cistern. This exceptional installation presents a distinctive viewpoint of this expansive underground chamber, enhancing its 221 columns and creating an illusion of infinite reflections. Kelly O’Brien, an accomplished artist and engineer from Houston, is the visionary behind the design of Cistern Illuminated . Photography by John Bernhard.

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