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    a true heights experience

    Carve out a day with these intriguing new sculptures on Heights Boulevard

    Tarra Gaines
    Mar 30, 2020 | 3:45 pm

    We could all use some beauty in our lives right now, and if that beauty comes with a bit of whimsey, all the better. If you’re looking to take an art walk (keeping a six feet distance from other humans, of course) Houston Heights Association has quite the stroll or ride-by art viewing opportunity with the outdoor exhibit, "True North 2020."

    Located along the 60-foot-wide esplanade of Heights Boulevard from White Oak Bayou to 20th Street, "True North 2020" features eight large-scale sculptures by some of the most acclaimed artists in Houston and Texas, including Leticia Bajuyo, Bill Davenport, Vincent Fink, Jack Gron, Joseph Havel, Jack Massing, Sherry Owens and Art Shirer (collaborating), and the late Bob Wade. From a giant head of cabbage to a working wind vane, all the works tell unique stories and blow in a lovely art breeze just when we need it.

    Here’s a preview look before you go take a strolling, biking or driving view for yourself.

    Big Cabbage by Bill Davenport at 900 block of Heights Boulevard
    Rendered with polymer concrete and painted the perfect cabbage green, Davenport succinctly explains: "It's a cabbage, but bigger!”

    Forces of Nature: Blue Skies, Slinkys, and Hurricanes by Leticia Bajuyo at 1200 block
    These three steel and PEX tubing sculptures, resembling blue slinkys, were inspired by inspired both by diagrams of hurricane development and the spring movement of the slinky toys.

    "Ultimately, by combining elements that affect our lives on a dramatic scale, those that occupy us in modest moments of play, and those that subterraneously quench our thirst for suburban perfection or agricultural plenty, I aimed to manufacture a peaceful, but artificial, grassy eye of the storm," Bajuyo says of her work.

    Dodecahedron by Vincent Fink at 600 block
    This 12-sided polyhedron with pentagonal faces of translucent acrylic glass embossed with paintings of celestial imagery, specimens and geometric orbital patterns, represents space or ether for the artist.

    "From the smallest particle to infinite galaxies, all things are interconnected via Sacred Geometry; the harmony of space," Vincent describes.

    Hard Rain by Jack Gron at 800 block
    Constructed of fabricated aluminum and painted steel, this depiction of clouds raining down silver metal upon an abstract-formed cityscape, sure feels timely for 2020.

    "I believe ultimately all art is autobiographical and throughout my career I have focused on my impressions of the times in which I live," Gron said. "Hard Rain is a statement regarding the most critical issue facing the Houston community."

    On History by Joseph Havel at 1300 block
    This a nine-foot bronze piece will appropriately be located prominently on the boulevard esplanade across from the Heights Neighborhood Library on the 1300 block.

    "On history recognizes that all contemporary artworks are based on precedents in art, art history, social conditions and personal history. The sculpture seems appropriate for Houston Heights at this moment as the community has gone through an accelerated period of change in the past decade. In reaching forward it is important to acknowledge history.”

    LOCULUS by Jack A. Massing at 400 block
    A working wind vane shaped like a wrench hinged on a giant No. 1 Repair Air pencil, viewers can consult the geographic coordinates located on the sculpture's structural tower to learn exactly where they are on Earth.

    "I have taken the title of this project, 'True North,' to heart and designed a piece that displays the cardinal directions and its exact location on the face of Earth,” explains Massing. “The wind vane element will allow the viewer to see which way the wind blows, which will at some point in the future be either coming from the North or perhaps blowing directly North.

    Carbon Sink by Sherry Owens and Art Shirer at 1600 block
    The artists sculpted discarded cuttings of the sinewy crape myrtle with hardware and carbon finished to create this most grounded environmental of the installations.

    "Carbon Sink is a visual metaphor of an organic storage place for the carbon dioxide present in our atmosphere," the artists explained in a statement."This sculpture represents a depository for the greenhouse gases that affect our environment.”

    El Gallo Monument by the late Bob Wade at 1800 block
    Inspired by Wade's childhood fascination with "roadside stuff during long trips on those old Texas highways" this colorful pig family paying respect to a monumental gallo will hopefully bring a bit of respite joy to every passerby.

    ---

    "True North 2020" remains on view along the Heights Boulevard esplanade now through December 15.

    Carbon Sink by Sherry Owens and Art Shirer.

    True North Heights sculptures Carbon Sink - Sherry Owens and Art Shirer
    Photo by Kolanowski Studio
    Carbon Sink by Sherry Owens and Art Shirer.
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    doubling down

    Shepherd School builds on 50 years with a 2026-27 season of discovery

    Joel Luks
    Jun 10, 2026 | 11:00 am
    Rice University Shepherd School of Music
    Photo by Michael Stravato
    The Shepherd School's 2026-27 season includes six world premieres.

    The next generation of classical music doesn’t wait in the wings at Rice University’s Shepherd School of Music.

    It walks onto the stage, often with a world premiere in hand, and slaps listeners with music so energetically performed that they might need a glass of wine or a Xanax to come down from the thrill.

    Fresh off its milestone 50th anniversary, the Shepherd School’s 2026–27 season doubles down on discovery. The lineup includes six world premieres, the Texas premiere of Matthew Aucoin and Sarah Ruhl’s opera Eurydice, celebrated guest artists, and a steady reminder that Houston audiences can hear rising talent before the rest of the world catches on.

    For students, Shepherd continues to function as a foundation where rigorous conservatory training meets the resources of a major research university. For audiences, it’s an invitation to witness artists in the midst of becoming, tackling ambitious repertoire in halls whose acoustics reward every nuance.

    The orchestral season, led primarily by Distinguished Resident Director of Orchestras Miguel Harth-Bedoya, embraces both pillars of the canon and brand-new voices. Opening night sets the tone with Ravel’s Alborada del gracioso, Richard Strauss’ Death and Transfiguration, the world premiere of Jake Berran’s Probabolophony, winner of the 2026 Cooper Prize, and Hindemith’s Symphonic Metamorphosis.

    The season also launches what is planned as a multi-year exploration of Gustav Mahler with Symphony No. 1, “Titan,” while spotlighting Shepherd faculty members as soloists, including pianist Jon Kimura Parker and oboist Erin Hannigan. Along the way come additional premieres by alumni composers, concerto appearances from competition winners, and opportunities for conducting students to take the podium.

    Shepherd will present a fully staged production of Richard Strauss’ Ariadne auf Naxos before mounting the Texas premiere — and first university performance — of Eurydice, with composer Aucoin visiting campus to work directly with students and audiences.

    Guest artists add another layer, from Aleko Endowed Artist Julia Bullock collaborating with Shepherd opera students to alumna Kate Soper returning with the acclaimed Wet Ink Ensemble. Chamber concerts, faculty recitals, festivals, and family programming round out a calendar of more than 400 events, many offered for free or at low cost.

    The season also includes the Adventurous Electric Guitar Festival at Wortham Theatre, where concerts, workshops, and presentations explore contemporary electric guitar and electroacoustic performance in collaboration with Rice Electroacoustic Music Labs (REMLABS).

    Notably, the school will also inaugurate its undergraduate orchestral conducting degree, the only program of its kind in the nation.

    This author recently caught Miguel Harth-Bedoya deep in score study before a concert, next to his visiting family, meticulously parsing Ravel’s Alborada del gracioso.

    It was a fitting snapshot of the institution itself: Craftsmanship behind moments that can feel effortless once the lights dim and the music begins. That dedication has defined Shepherd for more than 50 years, and the 2026–27 season suggests the next movement is well underway.

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