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    Art Power

    A hidden skyspace at the University of Texas? James Turrell spreads the dazzling lights love

    Tyler Rudick
    Jun 26, 2013 | 11:46 am

    As James Turrell continues his three-pronged attack on the art world this summer — with simultaneous retrospectives at the Solomon R. Guggenheim, Los Angeles County Museum of Art (LACMA) and the Museum of Fine Arts, Houston — a quiet storm of construction is underway at the University of Texas at Austin, where the acclaimed light artist is finishing up his next Lone Star State skyspace.

    With a fall opening date looming just on the horizon, the Austin project has flown under the radar in recent months as Turrell enjoys an unprecedented level of national media attention, including a New York Times Magazine cover story and piece on CBS This Morning that both highlighted the Houston project.

    But perched high atop the roof of the university's recently-constructed Student Activity Center, Turrell’s relatively small-scale UT skyspace almost seems to revel in its low profile.

    “This is a far different project than the huge Twilight Epiphany space at Rice University,” Andrée Bober, director of the university’s Landmarks public art program, tells CultureMap.

    “Students won’t just happen upon it , but will have to seek it out on their own."

    “I think ours is a very intimate and immersive piece, more like Turrell’s work at the Live Oak Meeting House in Houston.”

    The as-of-yet-unnamed project at UT will seat just under 30 guests and, like Twilight Epiphany, will feature light shows for both sunrise and sunset. As of June, the skyspace’s benches, walls and unique elliptical oculus are complete. Turrell — who has worked on the project for nearly a decade and received $600,000 to design the space — is expected to program the lighting sequences at the end of the summer.

    Helping to see both the University of Texas and Rice projects to fruition has been Austin-based arts supporter Suzanne Deal Booth, a former protege of Houston arts legend Dominique de Menil who worked as an assistant for Turrell during his last major retrospective at the Whitney Museum in 1980.

    Booth's decades-long friendship with the artist has helped to realize other Texas commissions in private collections as well as a large piece at Austin's Dimensional Fund Advisors, an investment firm founded by her husband, noted businessman David G. Booth.

    “This piece James has created for UT is almost like a hidden treasure,” Suzanne Deal Booth says. “Students won’t just happen upon it, but will have to seek it out on their own. It’s a truly marvelous piece.”

    Like Twilight Epiphany at Rice, the new installation will include both sunrise and sunset light shows.

    James Turrell rooftop Skyspace University of Texas at Austin
    Rendering by Overland Partners|Architects
    Like Twilight Epiphany at Rice, the new installation will include both sunrise and sunset light shows.
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    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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