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Meredith Deliso | March 16, 2012 | 9:00am
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Robin Free is admiring a naked photo of herself. In the arty black and white print, the 47-year-old Tomball native is standing with her back to the camera, hand on her hip, hair slightly blowing back like a goddess. She's standing on her toes as if wearing five-inch heels, which she happens to be sporting at the time.
Free is not alone. Other women are showing off naked photos of themselves to friends, family and strangers during a preview earlier this week of "40 Over 40" -- a photography series opening Saturday night at the Museum of Cultural Arts Houston. The show is comprised of portraits of 40 women who are over the age of, yes, 40, wearing nothing but what nature intended.
No one photo is alike -- the willing subjects are of all races and body types, striking unique poses. There's one who has her arms stretched high towards the sky, elongating her body. Another sits with her legs strategically crossed over her lower body, perfectly compositioned. In one long, particularly striking shot, a woman sits with her back to the camera, a tattoo of a bird with its wings outstretched on her lower back subtly visible. There's even a photo of MOCAH founder Rhonda Radford Adams, sitting with her arm back and looking upwards as if having a spiritual experience.
The 40 photos all began with No. 1 -- Tami Shane. Five years ago, Shane was feeling pretty down about her body, but managed to work up the courage to ask a commercial photographer she was seeing at the time to take naked photos of herself before her body "went south."
"I had really bad self-esteem," said Shane, 47, who in her photo is lying on her back, feet straight up in the air, looking at the camera with her finger seductively in her mouth. "But this made me stop comparing myself to everyone else. I'm comfortable in my own skin now."
Jeff Myers, the Houston photographer behind the 40 photos, picked up on something during his shoots with Shane.
"I noticed an aura about her," said Myers. "I thought, do all women over 40 have this aura?"
And so "40 Over 40" was born. Through social media and word of mouth, Myers found 39 other women willing to shed their clothes for his camera. He didn't ask any -- they all volunteered, and he didn't turn anyone away until he reached 40. Using a single light source against a black background, he'd spend about four hours on each shoot and then comb through the hundreds of photos until he found that perfect one. And he didn't do any touch-ups, either, in case you were wondering.
Among the women in attendance during a preview on Wednesday, it was pretty unanimous. What started out with the mentality "Well, I'm not getting any younger" became transformative, liberating, life-changing. There were no regrets, either, even if some had their reservations at first.
"I should have been No. 2," said Free, who was immediately recruited by her childhood friend, Shane, when the project began, but wound up being the 22nd woman photographed in the series. "It took me until 22 to work up the courage to do it."
"40 Over 40" at Museum of Cultural Arts Houston, 908 Wood Street, March 17 through April 17. For more information, call 713-224-2787 or visit the museum's website.
Keep the Houston Press Free... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Houston with no paywalls.
Bob Ruggiero | July 6, 2021 | 4:00am
Claude Monet, "Boats on the Beach at Etretat," 1883
Photo © RMN-Grand Palais/Mathieu Rabeau. Courtesy of the MFAH, Houston.
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Though he was of German-Argentinian descent and educated in the United States at Harvard, author philanthropist Georges Bemberg (1915-2011) had a passion for France, French culture, and in particular Impressionist art cultivated during his many years of residency there.
Before he died, he created The Bemberg Foundation that oversees the collection, which he gave to the city of Toulouse, France. It is normally housed there in the art gallery of its permanent home in the Hôtel d'Assézat.
Pierre-Auguste Renoir, "Portrait of a Young Girl," 1879.
Photo © RMN-Grand Palais/Mathieu Rabeau. Courtesy of the MFAH, Houston.
But Houstonians will have a rare opportunity to see 90 paintings and works from the collection in the exhibit Monet to Matisse: Impressionism to Modernism from the Bemberg Foundation, running through September 19 at the Museum of Fine Arts, Houston.
Houston is, as of now, the only U.S. destination for the exhibit. “It’s a really great opportunity to see some fine French paintings from a private collection that really hasn’t traveled, and certainly not to the U.S.,” says Helga Aurisch, Curator of European Art for the MFAH.
Represented in the exhibit are many of the Big Guns of French artists from the late 19th/early 20th centuries including Claude Monet and Henri Matisse of the title, Paul Cézanne, Edgar Degas, Pierre-Auguste Renoir, Paul Gaugin, and Henri de Toulouse-Latrec.
“It is visually very appealing and also has this wonderful backstory of a really dynamic group of revolutionary artists who broke away from the establishment,” Aurisch explains.
“And really set in motion this whole idea that you could go outside the limits of academic art and the establishment. It’s a hard struggle sometimes, but in the end it makes for a wonderful story. And they succeeded.”
It’s no surprise that Impressionist art—and particularly that of the Gallic variety—have been hugely popular and successful for the MFAH as the theme for many exhibits in recent years. Aurisch offers that it’s not difficult to discern why.
“Impressionism is relatively easy to digest. It doesn’t have heavy historical backgrounds or religious imagery. It’s basically landscapes and portraits,” she offers. “The artists’ calling was to paint modern life. So they documented life in the streets of Paris and in nature, and it’s very appealing.”
But when collecting, Bemberg seemed to have his eye more on one particular painter than others, and not one of the names recognizable to the general public: Pierre Bonnard (1867-1947).
Pierre Bonnard, "Landscape at Le Cannet, c. 1922."
Photo © RMN- Grand Palais/Mathieu Rabeau. Courtesy of the MFAH, Houston
Of the 90 works in Monet to Matisse, Bonnard is responsible for more than a third of them. He is known for his use of color and as a co-founder of the Nabis school of art philosophy, where the majority of artists had a particular interest in painting intimate scenes of the interiors of homes. Aurisch says a smaller subset embraced Symbolism influenced by Japanese art.
“I don’t know why Bonnard was so special to Mr. Bemberg, but he obviously was,” Aurisch says. “He stands somewhere between the Impressionist and Modern movements, but he had his own personal style.” She explains that Nabis is a Hebrew term which means ‘the prophets.’ “It was an alternate religion in art they wanted to pursue. They even had a temple in the apartment of one of the members.”
Edgar Degas, "Yellow Harlequin," 1895.
Photo © RMN-Grand Palais/Mathieu Rabeau. Courtesy of the MFAH, Houston
Her own favorite work in the exhibit is a Bonnard still life of irises and lilacs, a tribute to Van Gogh. She is also “greatly moved” by a self-portrait he did two years prior to his death.
“It’s really a very sad portrait. He’s looking at himself in the mirror of his bathroom in the south of France, and it’s pared down. His face and upper body are sparsely painted, and his eyes are darkened out,” she describes.
“It’s a very pensive, very sad portrayal of this great artist at the end of his life.” But, she adds the there is some hope. While the tiles of the bathroom are all white, when seen in the mirror’s reflection they are a radiant green and gold.
Aurisch says that the exhibit is a “broad array of some fine works,” and an unexpected complement to the MFAH’s own permanent collection of French Impressionist art, much of it collected by longtime Houstonian philanthropist/MFAH patron Audrey Jones Beck (1924-2003), who has a building on the Museum’s campus named for her.
“This is a great opportunity to compare and contrast the collections. And while Mr. Bemberg collected for his own pleasure, Beck did it to share, to teach about the evolution of French painting,” Aurisch says.
In fact, it wasn’t uncommon for Beck to invite art students to her home to see works on display there. And you can see both collections in the same visit.
“They’re close together, cheek to jowl. You just have to walk across the atrium!” she sums up. “So it’s nice to have this moment. Beck and Bemberg developed their love for French art at the same time and were in the market at the same time.”
Monet to Matisse: Impressionism to Modernism from the Bemberg Foundation runs through September 19 in the Beck Building at the Museum of Fine Arts, Houston, 5601 Main. For more information, call 713-639-7300 or visit MFAH.org. Tickets timed for entry, $18-$23.
Keep the Houston Press Free... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Houston with no paywalls.
Bob Ruggiero has been writing about music, books, visual arts and entertainment for the Houston Press since 1997, with an emphasis on classic rock. He used to have an incredible and luxurious mullet in college as well. He is the author of the band biography Slippin’ Out of Darkness: The Story of WAR.
Natalie de la Garza | July 8, 2021 | 4:00am
Watch live art be created and eat pancakes at the Pancakes & Booze Art Show.
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We’re back with another list of best bets. Whether you want to watch theater from your couch or shovel pancakes in your face at a socially distanced party, we’ve got some suggestions of things to do this coming week.
On July 2, the Catastrophic Theatre opened 30 Ways To Get Free, three Afrofuturist micro-films written by Candice D'Meza and directed by Nate Edwards. D'Meza describes the trio of micro-films are “a very fantastical way to imagine how we might free ourselves from any number of things we might experience in life,” which apply fantasy and sci-fi to real life experiences such as “teen pregnancy, the emotional overwhelm of being a Black female-identifying person, men in prison.” And fantasy and sci-fi you will get, with things like spontaneous combustion, mermaids, and alien abduction making appearances. As is the way with Catastrophic, tickets are pay-what-you-can with a suggested price of $35. You can purchase a ticket to view the video on demand here. 30 Ways To Get Free will be available to view through July 25.
Good news for fans of Billie Holiday and live theater performance: Last week, Stages announced that they were extending the run of Lady Day at Emerson's Bar and Grill through August 8. Lanie Robertson’s “elegiac lament” is set in 1959, mere months before Holiday died at the age of 44, in the city of Philadelphia, where Holiday was tried and convicted for drug possession. Between renditions of Holiday’s classic songs, performer DeQuina Moore – a “beguiling avatar” who “gets the off-beat phrasing, that whiskey-infused rasp, that throaty vibrato which are Holiday's signature style” – delivers an autobiographical monologue that “touches on most of the familiar highs and lows of Holiday’s life.” You can catch the show at 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays and Saturdays, and 2:30 p.m. Saturdays and Sundays. Limited in-person tickets are available for $25 to $64 (masks and social distancing are required), or you can buy a ticket to view a livestream for $25.
Think of Melvin Van Peebles and you’ll likely think of his 1971 “Blaxploitation anthem” Sweet Sweetback’s Baadasssss Song. Or maybe Watermelon Man, released a year earlier. But starting this Friday, July 9 (and for one week only), Museum of Fine Arts, Houston Virtual Cinema and the Houston Cinema Arts Society will co-present Van Peebles’s first feature – a debut he had to go to France to make – The Story of a Three Day Pass. The film “looks starkly, intimately, and imaginatively at the double life of a Black soldier in the U.S. Army,” stationed in France, who finds romance with a white French woman. The film – “an intimate love story and an examination of the tensions and contradictions of a Black agent of empire,” as well as “a moving portrait of isolation” – is available to rent here for $10.
In reviewing Sydney Pollack’s 1995 remake of Billy Wilder’s 1954 classic Sabrina, Roger Ebert mused on why the plot – about a chauffeur's daughter who has two super rich men, one a young playboy and one his serious older brother, vying for her attention – is so powerful. Between giving us “the myths of Cinderella and the Ugly Duckling,” with “some powerfully murky Freudian impulses,” all wrapped up in a rom-com, he said, “if it's halfway well done, it can hardly fail.” And considering the original’s director (Wilder) and cast (Audrey Hepburn, William Holden and Humphrey Bogart) failure clearly wasn’t an option. But grab a lawn chair or blanket and judge for yourself this Friday, July 9, at 8:30 p.m. when the 1954 film is screened at Market Square Park. This event is free and you can find more information here.
If you have not yet had a chance to experience the Holocaust Museum Houston’s first juried exhibition, “Withstand: Latinx Art in Times of Conflict,” there’s no better time than on the museum’s Summer Free Day scheduled for Saturday, July 10, from 10 a.m. to 5 p.m. In addition to viewing the 100 artworks that are part of the exhibit (with or without a curator), you can enjoy special performances, story times in English and Spanish, and you will also get free admission to additional museum galleries. Giveaways for the first 100 guests are also promised, including gifts such as a Mi Tienda tote bag, conchas, and more. Free and open to the public, but registration is required here. (And if you can’t make it, rest assured that “Withstand” will be on display through October 17, 2021.)
If you're a Southerner who likes to enjoy your pancakes and art tipsy, the Pancakes & Booze Art Show is for you.
If Science Channel can be believed (and it certainly sounds right), then Southerners eat the most pancakes in the U.S. If you’re one of those pancake eaters – as well as an alcohol enthusiast and art connoisseur – you might want to check out the Pancakes & Booze Art Show on Saturday, July 10, from 8 p.m. to 2 a.m. at The Ballroom at Warehouse Live. Doors open at 7 p.m. for the adult only (18+) show, which promises more than 100 artists, live body painting and music, and (of course) an all-you-can-eat pancake bar. If you want to celebrate 10 years of gorging on pancakes and checking out art, you can pick up a general admission ticket, which is socially-distanced and standing-room-only, here for $15.
Over on the Rice University campus, in a temporary, open-air structure next to Baker Hall, you’ll find ribbons – many, many ribbons. Inspired by the American tradition of barn raising, the “Ribbon Pavilion,” conceived by Dutch collective We Make Carpets (comprised of Marcia Nolte, Stijn van der Vleuten, and Bob Waardenburg), was brought to colorful life in March by volunteers following the artists’ instructions sent straight from their studio in the Netherlands. On Wednesday, July 14, at 7 p.m. dancers from Hope Stone Dance, along with a couple of musicians, will respond to We Make Carpets’ creative intervention with a little “strategic frolicking.” The work, titled "in the stillness of July," will hosted by the Moody Center for the Arts and will be free to view.
Keep the Houston Press Free... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Houston with no paywalls.
Natalie de la Garza is a contributing writer who adores all things pop culture and longs to know everything there is to know about the Houston arts and culture scene.
Jesse Sendejas Jr. | July 12, 2021 | 4:00am
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Bo Burnham: Inside debuted on Netflix the last day of May 2021. Viewers then spent all of June talking about the special — written, directed, filmed, edited and starring the comedian/musician — in mostly glowing terms. It’s now July and there’s no indication that interest in or discussion of the special is waning.
In the first week of the month, Mashable listed one of its songs as a “catchiest earworm of 2021.” Salon did a story on climate issues Burnham addresse
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