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    Snaps for Fotofest

    Frozen time: Fleeting images are captured by a UH composer in a stunning Musiqa world premiere

    Joel Luks
    Jan 11, 2014 | 2:11 pm

    If one considers photography as an art that captures a fleeting moment of time, imagine what a composer must assess before using photography as inspiration for a performing art that unfolds in time.

    There aren't examples of music inspired by photography in standard classical music repertoire, at least none that are widely known. Perhaps photography is just too new of a technology despite its beginnings in the early 19th century, when Beethoven was nearing the end of his life, Brahms was a baby and Debussy wasn't yet a twinkle in his parents' eye.

    There are, however, plenty of symphonic works based on paintings and sculptures, mediums that in the traditional sense offer the artist more creative choices. Take Modest Mussorgsky's popular Pictures at an Exhibition of 1874, based on the works of painter and architect Viktor Hartmann; Ottorino Respighi's Trittico Botticelliano of 1927, after Italian Renaissance painter Sandro Botticelli's La Primavera, L'Adorazione dei Magi and La nascita di Venere, which hang in the Ufizzi Gallery in Florence; and Paul Hindemith's symphonic poem Mathis Der Maler of 1934, after Matthias Grünewald's poignant Isenheim Altarpiece, whose unusual symbols have puzzled scholars for generations.

    Musiqa Houston composer Marcus Karl Maroney, on faculty at University of Houston's Moores School of Music, hadn't yet worked with any type of visual mediums as a starting point for his oeuvres when he decided to pen something to honor Fotofest, one of the contemporary music presenter's longtime collaborators. The world premiere of the resultant piece, titled Images, will be featured in a concert aptly themed "Frozen Time" on Saturday night at the Asia Society Texas Center.

    "In thinking about how to write music that would represent the image, I visualized what may be happening immediately before and after the photograph."

    Frozen In Time

    After rummaging through hundreds of images in Fotofest's archives, Maroney selected three black and white photographs — one by Byung-Hun Min and two by Stanley Greenberg — shaping an organic trajectory that aligned with Maroney's aesthetic.

    "Photography is like freezing time through images," Maroney says. "So in thinking about how to write music that would represent the image, I visualized what may be happening immediately before and after the photograph in addition to what was captured by the camera's lens."

    It's on purpose that the title, Images, hints at French Impressionism — think of Debussy's Images pour piano and his Images for orchestra plus Bozza's Image for solo flute. Maroney sees a parallel between Impressionism's obsession with capturing the effect of light at different times of the day and the process of photography, a word that broken apart to its Greek roots defines the genre as "drawing with light."

    Scored for clarinet (doubling on bass clarinet), horn, violin, cello, double bass, piano and percussion, the septet is divided in three movements to explore themes that stand in stark opposition to one another.

    Opposing Elements

    The natural world is represented in Min's Weed, a photograph that Maroney describes as a kind of blurry still life seen through haze or mist in which skeletal, thorny stems appear to struggle against a predominantly stark and mysterious background. In the first movement, titled Mauvaise herbe, Maroney responds to the visual milieu by using the natural harmonics of the horn coupled with brushes of sound from the ensemble.

    You can feel intense energy in Greenberg's City Tunnel, an industrial, round metal conduit that intrinsically implies travel — a starting and an ending point — its geometric repetitions drawing the viewer deeper into its mirror-like restatements.

    If it's the photographer that freezes time in perpetuity, doesn't a composer's work essentially stay frozen until it's liberated by a performer?

    "I can't say for certain what Stanley Greenberg intended in City Tunnel," Maroney explains. "As I see it, the symmetrical structure draws you forward into fast, fast speeds. My music represents this sonic world by juxtaposing jumpy rhythms with rapid twists and turns."

    Maroney interprets Greenberg's Croton Falls Dam as a synthesis between the natural and the manmade, the organic and the artificial. For the photograph, Greenberg drags the camera's shutter speed to soften the flow of a cascading waterfall supported by fabricated stone treads. The contrast is exaggerated with whites that blind and darkness that adds mystery.

    "In the waterfall, things are constantly changing but the elements are always the same," he says. "It's never really the same but it's always the same — it's an interest philosophical dichotomy. Like the saying, 'No man ever steps in the same river twice, for it's not the same river and he's not the same man.' "

    Maroney approaches the closing movement, titled Chute d'eau, by reworking recognizable components from the former two sections. The music progresses through new material to balance the overall thrust of the composition.

    In reflecting about the intersection between music and photography, there's one similarity that doesn't immediately surface. If it's the photographer that freezes time in perpetuity, doesn't a composer's work essentially stay frozen until it's liberated by a performer?

    That's why live performances are so important. They complete the cycle of creation.
    ___

    Musiqa Houston presents "Frozen Time" on Saturday, 7:30 p.m., at the Asia Society Texas Center. Tickets start at $25 and may be purchased online or by calling the Asia Society Texas Center at 713-496-9901.

    Also on the program are Karim Al-Zand's song cycle Orange Torches Against, Elena Firsova’s Frozen Time and Lei Liang’s Trio for Piano, Cello & Percussion plus a reading by poet Nick Flynn.

    Musiqa composer Marcus Maroney.

    Marcus Karl Maroney
    Courtesy photo
    Musiqa composer Marcus Maroney.
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    Best May Art

    MFAH's blockbuster modern art exhibit and 7 more openings in Houston this month

    Tarra Gaines
    May 11, 2026 | 12:45 pm
    as Pablo Picasso, Woman in a Multicolored Hat, part of the MFAH's upcoming Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen exhibit, opening May 20
    Image courtesy MFAH
    Museum of Fine Arts, Houston presents Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen (Pablo Picasso, Woman in a Multicolored Hat, 1939, oil on canvas, Museum Berggruen, Neue Nationalgalerie, Berlin. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

    May brings some of the biggest art shows and museum exhibitions of the year to town. Some fly in with patriotic fanfare, while others give us a rare opportunity to gaze at European masterworks. Whether someone is looking for irreverent performance art at the CAMH, wants to get in touch with whimsical spirits at Moody Art Center, buy art for a good cause at Silver Street, or get ready for the World Cup at Sawyer Yards, Houston artists, galleries, and museums have a show for all tastes.

    “Freedom Plane National Tour: Documents That Forged a Nation” at Houston Museum of Natural Science (now through May 25)
    We’ll call this one the art of democracy. This exhibition 250 years in the making might not fit the usual definition of "art," but this touring presentation of Founding-era documents at HMNS has to make this month's must-see list. The National Archives and Records Administration, in partnership with the National Archives Foundation, set aloft this flying tour of some of the nation’s most historical documents, complete with their own plane. Houston is one of only eight U.S. cities where the Freedom Plane will land. The original National Archives records featured in the exhibition are traveling together for the first time. Just some of the historic documents included in the exhibition are an original engraving of the Declaration of Independence; George Washington, Alexander Hamilton, and Aaron Burr’s Oaths of Allegiance, 1778; and the Secret Printing of the Constitution in Draft Form, 1787.

    “As our nation approaches its 250th anniversary, there is no more fitting tribute than bringing these original documents, leaving the National Archives together for the very first time, directly to the American people,” says Joel Bartsch, president and CEO of HMNS. “From George Washington’s oath as a Continental Army officer to the Treaty of Paris that secured our independence, these are not replicas or reproductions. They are the genuine records, and Houston will have the rare privilege of experiencing them in person this May.”

    “20th Annual Empty Bowls” at Silver Street Studios (May 15 and 16)
    For two decades this beloved grassroots fundraising event has given art lovers the chance to pick up one of a kind, handcrafted ceramic bowl-shaped artworks for just $25 dollars each and helped to serve up millions of meals to the hungry. Over the years, Empty Bowls Houston has raised over $1.2 million for the Houston Food Bank. The lunch fundraiser is a collaboration between Houston-area ceramists, woodturners, and artists working in all media and Houston Center for Contemporary Craft. A special ticketed preview party on May 15 will feature light bites, beer and wine, live music, a pottery throw down event with local potters, and a chance to purchase a bowl early before the main event on May 16. Archway Gallery will also host its own annual Empty Bowls exhibition throughout May.

    “No Longer, Not Yet” at Art League (May 15-July 19)
    This exhibition of mixed media and fiber sculptures from Houston-based artist Marisol Valencia is the culmination of Valencia volunteering at a Houston-area shelter serving migrant women and children. To create the works in the show, Valencia uses material imbued with meaning, including fibers sourced from rural Mexican communities where migration often shapes daily life; bedsheets and pillows gathered from the shelter; and porcelain pieces inscribed with collected definitions of “home.” At the center of the exhibition will be a large cascading crochet sculpture made in collaboration with women and volunteers at the shelter.

    “Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen” at Museum of Fine Arts (May 20-September 13)
    Houston claims another first as the MFAH hosts the U.S. debut of this monumental touring exhibition of masterworks by Pablo Picasso, Paul Klee, Henri Matisse, Alberto Giacometti, and other major artists of postwar Europe. The exhibition will also tell the story of influential gallerist Heinz Berggruen and his relationship with the artists and collecting world. From the 1940s into the 1990s, Heinz Berggruen assembled a singular collection of hundreds of modern masterworks, many directly from the artists, and then in 2000, Berggruen placed the collection with the German state. The collection is now housed in the Museum Berggruen in Berlin-Charlottenburg as part of the Berlin State Museums/Foundation of Prussian Cultural Heritage.

    “It is especially rewarding to introduce our audiences to the life and legacy of Heinz Berggruen — a pioneering art dealer, publisher, and collector whom I was privileged to know and work with for more than two decades,” remarks MFAH director Gary Tinterow on bringing the exhibition to Houston.

    “Ballet of the Masses” at Sawyer Yards (May 21-July 25)
    As Houston gets ready for the World Cup, local artists score their own kind of goals with this exhibition of artful soccer balls. Over 40 Houston artists have put a unique spin on a regulation sized fútbol — turning them into sculptural pieces. Organizers will suspend the works from the ceiling of Sabine Street Studios' North Gallery to create a kind of celestial soccer constellation. Together, these works will celebrate the dynamism and joy within sports and art.

    “Never Forgotten” at Sabine Street Studios (May 21-July 25)
    This powerful exhibition comes from a unique collaboration between Texas Center for the Missing, Houston Police Department Forensic Artists, and Sabine Street Studios, all dedicated to bringing the missing home. Three local forensic artists: Thurston Johnson, Bryan Bradley, and Kristen Aloysius have created age-progression portraits of missing persons in the hopes of reuniting families. Beyond showcasing real art, “Never Forgotten” was organized to shine a light on each individual case and continue raising awareness of the missing in our community. Sabine Street Studios will also host special programming in conjunction with the show, including a workshop on forensic drawing and drawing portraits based on memories.

    “Mary Ellen Carroll: How To Talk Dirty and Influence People” at Contemporary Arts Museum (May 22-November 1)
    Acclaimed New York-based conceptual artist Mary Ellen Carroll has spent over four decades crossing disciplines of performance art, photography, architecture, writing, video making, and public art to explore issues of environmentalism, architectural and technological infrastructure, immigration, urban legislation, and identity, as well as tackling fundamental questions of the nature of art. And some of this exploration has taken place in Houston with Carroll’s continual transformation and documentation of a post-war home in the city’s Sharpstown neighborhood.

    This first major museum survey of Carroll’s work takes inspiration from legendary comic Lenny Bruce’s 1965 autobiography of the same name, and emphasizes the irreverent and honest nature of Carroll’s work. The exhibition will bring renewed focus onto some of Carroll’s larger series, for example, “prototype 180,” the Sharpstown project, and “My Death Is Pending… Because,” consisting of separate pieces like video documentation of the artist driving and destroying a 1985 Buick in a demolition derby in 2017 and video of Carroll in a polar bear suit climbing a defunct smokestack in Memphis.

    “Carroll is that unique kind of artist who continually reminds you of the power of art and artists to inspire radical change, in ourselves and the world,” notes senior curator Rebecca Matalon.

    "Shapeshifters, Sprites, and Spirits” at Rice Moody Center for the Arts (May 29 - August 15)
    Delve into a world of whimsical wonder in this new exhibition and the first Texas solo show of acclaimed Japanese artist Masako Miki’s sculptural work and installations. Influenced by diverse artistic movements from European Surrealism to Japanese manga, Miki creates sculptures from felt layered over wood armatures. Once completed, they resemble animated and large scale forms of everyday objects infused with personality and character.

    Miki’s work is also inspired by folkloric traditions, especially Shinto animism and its belief that all beings and things contain a spirit. For the site specific Moody exhibition, Miki has also created works with a focus on yōkai, supernatural entities taking the form of beings, objects, and apparitions, and particularly those that appear in the Night Parade of One Hundred Demons (Hyakki Yagyō), a legend dating to medieval Japan.

    “My characters are ordinary but have extraordinary powers,” describes Miki of her sculptures. “They are secular but are attuned to sacred traditions. As a collective, they advocate for both individual and collective agency, and the importance of stories as unifying systems in today’s complex world.”

    as Pablo Picasso, Woman in a Multicolored Hat, part of the MFAH's upcoming Picasso\u2013Klee\u2013Matisse: Masterpieces from the Museum Berggruen exhibit, opening May 20
    Image courtesy MFAH

    Museum of Fine Arts, Houston presents Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen (Pablo Picasso, Woman in a Multicolored Hat, 1939, oil on canvas, Museum Berggruen, Neue Nationalgalerie, Berlin. © 2026 Estate of Pablo Picasso / Artists Rights Society (ARS), New York)

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