To Paris And Beyond

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

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.

Malcolm Daniel, photography curator at the MFAH.

Malcolm Daniel photography curator MFAH head shot June 2014

Photo by © F. Carter Smith

Malcolm Daniel, photography curator at the MFAH.

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Graceful exit

Ben Stevenson, legendary director of Houston Ballet, dies at 89

Photo courtesy of Texas Ballet Theater

Ben Stevenson, O.B.E.

Ben Stevenson, OBE, longtime artistic director of Houston Ballet and a legendary dancer and choreographer, died March 29, 2026 — just days shy of his 90th birthday, which would have been April 4.

"Stevenson’s profound impact on dance spanned decades and continents, shaping countless careers and elevating ballet companies to global prominence," reads a statement from the Ben Stevenson Trust. His cause of death has not been made public.

Stevenson served as artistic director of Houston Ballet from 1976 to 2003. Over 37 years, he transformed the company from a provincial group into one of the world’s biggest and most respected ensembles.

He also founded the Houston Ballet Academy, which his obituary calls "one of Stevenson's proudest accomplishments."

"In touch with his own inner child, Stevenson focused on developing children’s expression through movement, connecting their bodies and feelings to music," says the obituary. "Through the Ben Stevenson Houston Ballet Academy, he provided nourishment and education for such artistic expression to grow young dancers who would ultimately become his dancers in the Houston Ballet."

Houston Ballet, Sara Webb, The Sleeping Beauty, chor. Ben Stevenson Sara Webb and artists of the Houston Ballet in The Sleeping Beauty, choreographed by Ben Stevenson. Photo by Amitava Sarkar

Stevenson brought up generations of world-renowned dancers, including Lauren Anderson, Janie Parker, Carlos Acosta, and Li Cunxin. "In 1990, Stevenson’s promotion of Lauren Anderson to principal dancer was an important milestone in American ballet, making her one of the first Principal African American ballerinas in history," says the obituary.

In 2003, Stevenson left Houston Ballet to helm the Texas Ballet Theater in Dallas-Fort Worth. He would serve as artistic director at TBT until 2022, when he transitioned to a new role as artistic director laureate — a lifetime appointment. He continued to work with North Texas dancers in studio, set the choreography for his legendary ballets, and attend performances; he was spotted in the audience of the company's most recent mixed-rep program just weeks ago.

Tim O'Keefe, who took the reins as TBT artistic director from Stevenson, said of his passing on Sunday, "Ben was more than a mentor to me — he was family. His artistry, his generosity, and his vision shaped not only my own journey as a dancer and leader, but also the very heart of Texas Ballet Theater.

"I will miss his wisdom, his humor, and his boundless passion for storytelling through dance. While my heart is heavy with grief, I am profoundly grateful for the decades of inspiration and love he shared with me and with this company. His spirit will live on in every performance, every dancer, and every audience moved by his work."

A ballet giant, Stevenson's choreography, from Cinderella to Dracula to The Nutcracker, is performed by companies around the globe.

Houston Ballet's announcement of Stevenson's death on social media Sunday night brought hundreds of comments, many of which were from former dancers in his productions who underscored the impact he'd had on their life and careers.

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Details on memorial services will be announced at a later date.

Below is the full obituary prepared by the Ben Stevenson Trust:

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BEN STEVENSON, OBE, decorated and acclaimed ballet dancer, teacher, choreographer, and artistic director, passed away March 29, 2026.

A native of Portsmouth, England, Stevenson was born April 4, 1936. As a child, Stevenson received his dance training in London, England, at Arts Educational School. Upon graduation, he was awarded the prestigious Adeline Genee Gold Medal, the highest award given to a dancer by the Royal Academy of Dancing. At the age of 18, he was invited by Dame Ninette de Valois to join the world-famous Sadler’s Wells Royal Ballet (currently The Royal Ballet), where he worked with Sir Frederick Ashton, Sir Kenneth MacMillan, and John Cranko. At Sir Anton Dolin’s invitation to London Festival Ballet as a principal dancer, Stevenson performed leading roles in all the classics.

In London’s West End, Stevenson performed the juvenile lead in ”The Music Man”, and appeared in the original casts of ”Half a Sixpence” and ”The Boys From Syracuse”. On British television’s “Sunday Night at the Palladium,” Stevenson danced in musical numbers 52 weeks a year with Judy Garland, Ella Fitzgerald, Shirley Bassey, and Cleo Laine.

In 1967, he staged his first ballet for English National Ballet, a triumphant production of “The Sleeping Beauty” starring Dame Margot Fonteyn. His arrival in the United States one year later marked the beginning of a journey spanning the remainder of his life. Rebecca Harkness appointed him as the Director of the Harkness Youth Dancers in New York City where he created two of his most celebrated works: “Three Preludes” and “Bartok”. After Harkness, Stevenson’s next position was as the Co-Artistic Director with Fredrick Franklin of National Ballet, in Washington, D.C. where he choreographed “Cinderella” and a new production of “The Sleeping Beauty” for the inaugural season of The John F. Kennedy Center for the Performing Arts.

After a brief association with Ruth Page's Chicago Ballet, Stevenson was appointed Artistic Director of Houston Ballet in 1976. During his tenure of 27 years, Houston Ballet grew from a small provincial ensemble to one of the largest and most respected ballet companies in the world. At Stevenson’s invitation, Sir Kenneth MacMillan and Christopher Bruce joined the Houston Ballet in 1989 as Artistic Associate and Resident Choreographer respectively, thereby establishing a permanent core of choreographers whose works contribute to the diversity of the Houston Ballet’s repertory.

One of Stevenson’s proudest accomplishments was establishing the Houston Ballet Academy. In touch with his own inner child, Stevenson focused on developing children’s expression through movement, connecting their bodies and feelings to music. Through the Ben Stevenson Houston Ballet Academy, he provided nourishment and education for such artistic expression to grow young dancers who would ultimately become his dancers in the Houston Ballet.

By establishing a school where he could hone his skills as a teacher to develop dancers, his vision was to build a company from the ground up. As a result, Stevenson trained several generations of world-renowned dancers including Lauren Anderson, Janie Parker, Carlos Acosta, and Li Cunxin. In 1990, Stevenson’s promotion of Lauren Anderson to principal dancer was an important milestone in American ballet, making her one of the first Principal African American ballerinas in history.

$Houston Ballet principal Melody Mennite as Carabosse and former dancer Lauren Anderson as The Queen in Ben Stevenson\u2019s The Sleeping Beauty$ Houston Ballet principal Melody Mennite and former dancer Lauren Anderson in Ben Stevenson’s The Sleeping Beauty. Photo by Amitava Sarkar, courtesy of Houston Ballet

As part of a cultural exchange program in 1978, Stevenson was among the first to gain entrance into China on behalf of the U.S. government, thus beginning a mutual love affair between China and Stevenson. He returned almost every year to teach at the Beijing Dance Academy. To expose the Chinese students to Western dance forms, Stevenson brought with him teachers of jazz and modern dance, including Gwen Verdon. In 1985, he was instrumental in the creation of the Choreographic Department at the Beijing Dance Academy. Stevenson is the only non-Chinese citizen to have been made Honorary Faculty Member there and at the Shenyang Conservatory of Music. In 2018, he was acknowledged by the Chinese government as one the most influential Foreign Experts in the 40 years since China initiated its policy on Reform and Opening Up.

In July 1995, Stevenson led the Houston Ballet, the first full American ballet company to be invited by the Chinese government, on a two-week tour of the People’s Republic of China with performances in Beijing, Shanghai, and Shenzhen. China’s invitation was a direct result of Stevenson's international reputation. Houston Ballet’s opening night performance of “Romeo and Juliet” in Beijing was telecast live and was seen by over 500 million Chinese viewers.

In July 2003, Stevenson became Artistic Director of Texas Ballet Theater in Fort Worth and Dallas. The company began to experience tremendous growth in budget and repertoire, as well as its education programs, all while attracting dancers from around the world. Stevenson remained Artistic Director until 2023–the longest-serving Artistic Director in the company’s history. Under his leadership, TBT flourished. His strong relationships with current and former dancers allowed him to bring world-class choreography to the company, raising the profile not only of TBT, but of the DFW Metroplex as an arts hub. Like he had in Houston, Stevenson recruited dancers to TBT from all over the world.

Legendary for his storytelling, Stevenson has left his mark on stages in London, Munich, Norway, Paris, New York, Santiago, Brisbane, among many others. He is best known for his compelling stagings of “Swan Lake”, “Romeo and Juliet”, “Cinderella”, “The Nutcracker”, “Coppelia”, “Don Quixote”, the original productions of “Peer Gynt”, “Dracula”, “The Snow Maiden” and “Cleopatra”. His wide range of friendships included ballet luminaries and celebrities from across the globe.

For his contributions to the world of dance, Stevenson was named an Officer of the Order of the British Empire (OBE) by Queen Elizabeth II in the New Year’s Honors listed in December 1999. His choreography also earned him numerous awards including three gold medals at the International Ballet Competition of 1972, 1982, and 1986. In April 2000, he was presented with the Dance Magazine Award, one of the most prestigious honors on the American dance scene. In 2005, he was awarded the Texas Medal of Arts.

Devilishly sneaky and intrinsically shy, Stevenson was an introverted extrovert. He shone the brightest in his kitchen, be it at home or a French chateau. Each meal, a feast fit for kings, was a reflection of the importance he placed on communing with dancers, friends and unsuspecting passersby. His generosity knew no bounds. Nourishing body and soul, from the head of his table, he spun tales of his life entrancing all seated around him.

Survivors include Ben’s extended family in Portsmouth, England, and a host of friends and dancers around the world who will never forget him.

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