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    To Paris And Beyond

    A surprise new art space: MFAH's new photo guru is changing how Houston looks at pictures in the hall

    Tarra Gaines
    Jun 22, 2014 | 11:31 am

    Malcolm Daniel, the new curator in charge of the Department of Photography at the Museum of Fine Arts, appears so enamored with Houston that he’s already planning our future together and has arranged a romantic summer trip to France for us. While technically, our getaway is to a 19th century Paris of street demolition, building rubble and public urinals, seen though the lens of the pioneering photographer Charles Marville, the haunting skyscapes and elegance of those public urinals makes this journey quite a lovely getting-to-know-us gift.

    Daniel is the coordinating curator for the Houston stop of Charles Marville: Photographer of Paris, which was organized by National Gallery of Art, Washington, D.C and will be on view at the MFAH until Sept 14. In a recent preview walk through the exhibition, Daniel took his audience down the streets of a 19th century Paris going through immense change, so it was perhaps appropriate that he later took some time out to speak to me about the future changes he would like to bring to how museum goers see and think about the MFAH’s renowned photography collection.

    The Parisian Past

    Charles Marville: Photographer of Paris gives viewers a fascinating set of portraits of both the city of Paris and the technology and art medium of photography as both evolve in the mid to later 19th century. Marville, the official City of Paris photographer was commissioned to document the transformations of a Paris going through destruction and construction as it expands to become the modern city of lights we hold in our imaginations.

    Marville is a definitive example of how 19th century photography could document the world while “striving for art.”

    There’s even one wall in the exhibition devoted to just a few examples of the 20,000 gas lamps that became, as Daniel describes them, “proud sentinels of the modern city.”

    Though Marville is documenting the daily life in the Paris of his present as it moved closer to the 20th century, Daniel believes “We have to not think of documentary and artistic as being antithetical of one another. They were roles that photography could play at the same time,” and Marville is a definitive example of how 19th century photography could document the world while “striving for art.”

    The MFAH’s Photography Future

    Along with coordinating this Marville exhibition, Daniel has been busy working to solve a MFAH conundrum. Before her retirement, the founding Curator of the Department of Photography, Anne Wilkes Tucker spent over three decades building the museum’s preeminent photography collection, but there has never been one space in the museum dedicated solely to displaying pieces from that collection. In the fall, and with the support of director Gary Tinterow, Daniel will set out to change this.

    “I want people to know that they can come here and this is where they can see the treasures from the photography collection.”

    “I wanted there to be place that’s always photographs and not a special exhibition, the same way you go upstairs and see the great old master paintings,” Daniels explained. “I want people to know that they can come here and this is where they can see the treasures from the photography collection.”

    The space set aside for selections from the collection might not seem too illustrious at first. The hallway in the lower level of the Beck Building between the parking garage and escalator to the first floor has been used in the past to display a hodgepodge of works, including photography, but it was certainly never a space that museum patrons thought to look for great art treasures. With some renovation, a new flexible lighting system and a warm, grey color for the walls, Daniel hopes that the constant foot traffic to and from the garage will soon help Houstonian photography lovers realize that this is the place to pause, stop, and begin to comprehend the depth and breadth of the MFAH’s collection.

    On one wall he envisions displaying glimpses of the whole history of world photography as reflected by the collection, mixing pieces from the very beginning of photography with 21st century photos, European Modernism, photo journalism, landscapes and abstractions and even the unexpected “oddball picture.” The other wall will reflect the collection’s depth, pictures from key figure photographers that the museum holds in great quantity.

    The photos displayed will rotate approximately every four months, so “wherever somebody comes here, they’ll know they will see some of the great treasures.”

    While the museum will always bring in new exhibitions that celebrate photographic art, like Photographer of Paris, in our future there will be at least one, constant space to explore the MFAH's own vast collection.

    Charles Marville, Avenue du Commandeur (de la rue d’Alésia) (fourteenth arrondissement), 1877–78, albumen print from collodion negative, Musée Carnavalet, Paris.

    Charles Marville Photographer of Paris at MFAH June 2014 Avenue du Commandeur
      
    Photo courtesy of © Musée Carnavalet Roger-Viollet
    Charles Marville, Avenue du Commandeur (de la rue d’Alésia) (fourteenth arrondissement), 1877–78, albumen print from collodion negative, Musée Carnavalet, Paris.
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    news/arts

    this ballerina knows business

    Houston Ballet names new executive director with deep ties to its past

    Tarra Gaines
    May 5, 2025 | 10:00 am
    Sonja Kostich Houston Ballet
    Photo by Bre Johnson
    Houston Ballet appoints Sonja Kostich as the organization’s next Executive Director.

    Dance lovers who saw Houston Ballet artistic director Stanton Welch’s beautiful and fierce Maninyas back in February probably didn’t realize they were witnessing a dance with significant hidden history. Maninyas was the Australian-born Welch’s first American commissioned work when it had its 1996 world premiere in San Francisco. Seeing that premiere inspired Ben Stevenson, Houston Ballet's artistic director at the time, to invite Welch to create a piece for the company, eventually paving the way for Welch to serve as the company's artistic director.

    Sonja Kostich Houston Ballet
      

    Photo by Bre Johnson

    Houston Ballet appoints Sonja Kostich as the organization’s next Executive Director.

    It seems those dance waves from Maninyas continue to reverberate, for on stage for that 1996 world premiere performance was acclaimed ballerina Sonja Kostich. And today Houston Ballet announced Kostich will leap into the role of Houston Ballet executive director beginning in August.

    Kostich assumes the directorship after major triumphs in roles onstage, backstage, and behind executive desks across the dance world. As a young dancer, Kostich trained at the prestigious School of Classical Ballet, a program created by Mikhail Baryshnikov. Then at 17 she was chosen by Baryshnikov himself to join the American Ballet Theatre. Such began a impressive career dancing with the San Francisco Ballet, Zurich Ballet, Baryshnikov’s White Oak Dance Project, and collaborations with renowned director Peter Sellars. One of Kostich’s big endeavor mixing dance and entrepreneurship came in 2008, when she co-founded the contemporary dance company OtherShore in New York. She also served as co-director for six years.

    After hanging up her ballet slippers, at least professionally, Kostich pursued a career in business, earning a Bachelor of Business Administration in Accounting from the Zicklin School of Business at CUNY Baruch College, where she graduated Salutatorian at age 42. She also completed a master's degree in arts administration.

    Kostich's professional experience includes roles at Goldman Sachs, Mark Morris Dance Group, and New York City Center. From 2018 to 2022, she was Chief Executive and Artistic Officer of Kaatsbaan Cultural Park, leading a successful rebranding and revitalization of the organization.

    Since 2022, Kostich has served as president and executive director of Baryshnikov Arts Center in New York City. Her work at the Center likely caught the HB board’s eye, as her tenure helped to achieve financial stability, expand opportunities for artists, and increase both earned and contributed income to record-breaking levels while engaging new, diverse audiences.

    “We are thrilled to welcome Sonja Kostich to Houston Ballet,” said Kristy Bradshaw, Houston Ballet board chair, in a statement. “Our board has worked diligently to ensure the continued financial strength and operational excellence of our company, building on the legacy of our retiring executive director, Jim Nelson. It is through this solid foundation — marked by fiscal stewardship, exceptional senior leadership, and a highly capable organizational structure that we have been able to attract such remarkable talent in Kostich. We are confident that her vision, creativity, and leadership will further elevate our company on the global stage. We look forward to this exciting new chapter for Houston Ballet.”

    Kostich has as many good things to say about the company as the board does about welcoming her.

    “Houston Ballet is an exemplary company with exceptional artists, dedicated employees, and a robust history of supporters and audience goers,” said Kostich. “I am deeply humbled and honored to build upon the company's remarkable legacy and look forward to developing thoughtful and valuable long-term relationships within the community. Ballet as an art form has a phenomenal capacity to generate real inspiration and engagement in all ages."

    Along with collaborating with Welch in the past, Kostich also has ties to the company’s co-artistic director, Julie Kent. Kent and Kostich overlapped during their dance careers at the American Ballet Theatre.

    Both Welch and Kent also sing Kostich’s praises.

    “I am thrilled that Sonja will be joining Houston Ballet as executive director. She will be an excellent partner to bring Houston Ballet into our next chapter,” said Welch. “Along with her exceptional leadership capabilities, Sonja will also bring a level of unique dance expertise that will enhance our Company.”

    Julie Kent added, “I very much look forward to what will be a highly collaborative experience that will only elevate what Houston Ballet can achieve, both artistically and as an organization. Sonja’s extraordinary talents and drive are a perfect match for our future goals.”

    The feelings are mutuals from Kostich who ended her statement saying, “I am thrilled by this opportunity to work with Stanton and Julie, truly accomplished and respected artistic leaders, as we work together on a firm vision for the limitless potential for the future of Houston Ballet.”

    James Nelson, the retiring executive director, will assume the title of executive advisor, supporting Kostich during her transition.

    houston balletsonja kostich
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