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    The CultureMap Interview

    The Menil Picasso vandal answers questions, argues that museums steal from thepeople

    Tyler Rudick
    Sep 10, 2012 | 3:17 pm
    • In an artistic and political statement this summer, Houston artist UrielLanderos targeted a 1929 Picasso at the Menil Collection.
      Uriel Landeros/Facebook
    • A cell phone video recorded Landeros spray-painting a stencil of a bullfighterand the word "conquista" onto the cubist work Women in a Red Chair.
      fused00828/YouTube
    • Before his career as an art dealer, Tony Shafrazi spray-painted "Kill Lies All"on the Picasso masterwork Guernica.
      The Saatchi Gallery
    • Picasso's Women in Red Chair from 1929
      Photo by Hickey-Robertson, Houston
    • Pablo Picasso, Guernica, 1937, oil on canvas.
      TheFullWiki.org

    After spray-painting a 1929 Picasso at The Menil Collection in June, Uriel Landeros has been on the lam from state and federal authorities. While maintaining a low profile for more than two months, the young artist is beginning to share his thoughts on the Internet, including a fuller explanation of the motives that he posted on YouTube in late August.

    CultureMap's received a detailed response from Landeros to questions. Via social media messaging, Landeros told CultureMap that his vandalism was an act driven by both politics and art, with a particular embrace of an activist philosophy seen in the Occupy movement.

    Landeros says that the vandalism was an act driven by both politics and art, with a particular embrace of an activist philosophy seen in the Occupy movement.

    He also discussed notions of cultural stewardship — an issue the Menil itself addressed during a public panel last November after the museum announced that its beloved Byzantine frescoes would be returning to their original owners, the Church of Cyprus.

    Landeros even answered the million-dollar question about whether he felt a certain kinship with Tony Shafrazi, who spray-painted "Kill Lies All" on Picasso's Guernica in the mid 1970s before becoming a highly sought-after gallery owner.

    CultureMap: As an artist, do you see your Picasso stencil primarily as an artistic act, a political act or both?

    Uriel Landeros: Both, it took time and effort to organize the painting of my stencil. It was the art of being slick. Politically, because there are many people sick of the same old promises the elite government gives to the public.

    And the public always loses. It's time to stand up against the machine.

    CM: Do you see museums as being part of the One Percent?

    UL: I love museums. I love appreciating art, but it makes me mad when I go into museums and I see archeological artifacts from different countries there. Most of those pieces have been stolen, along with the culture that the people from their origins can no longer have in their country. Being of Hispanic descent, it infuriates me and reminds me how much of our culture has been stolen and is now in Europe.

    The Menil is an institution that has items with more value than money. You cannot buy archeology with money, you have to take it and steal it from someone else if you want it. That is what many museums have done with what belongs to the the public.

    But many don't want to see the truth . . . It's like a blood diamond.

    CM: Do you feel any connection to Tony Shafrazi's Guernica vandalism in 1974? He, of course, went on to become a mega-art dealer during the '80s boom years.

    UL: Tony is a great art dealer . . . That's all I have to say.

    unspecified
    news/arts

    Small-Town Gossip

    Houston Grand Opera trades Appalachian heartbreak for black-tie revelry

    Joel Luks
    Oct 28, 2026 | 11:45 am
    Houston Grand Opera opening 2026
    Photo by Michelle Watson
    James Gaffigan, Astley Blair, and Ping Sun.

    Ain’t it a pretty night? Well, that depends on whom you ask.

    For the title character in Carlisle Floyd’s Susannah, things go south rather quickly. For the Houston Grand Opera crowd gathered at the Wortham Theater Center on October 23, however, the evening was looking positively peachy.

    HGO opened its 72nd season with the American classic, celebrating Floyd’s centennial and the nation’s 250th birthday. And what better way to salute Americana than with a little Appalachian intrigue, religious fervor, and small-town gossip?

    The drama began before anyone sang a note. A passionate overture accompanied by sweeping projections offered a tantalizing preview of the story’s twists and turns. Spoiler alert: Susannah wasn’t headed for a fairy-tale ending. But the evening certainly had its leading man. James Gaffigan made his first appearance as HGO’s music director designate, taking the podium for a production reimagined by soprano-turned-director Patricia Racette.

    Houston Grand Opera opening 2026

    Photo by Michelle Watson

    James Gaffigan, Astley Blair, and Ping Sun.

    Soprano Sylvia D’Eramo made her role debut as Susannah, with baritone Rod Gilfry portraying the Reverend Olin Blitch. Tenors Bille Bruley and Aaron Blake rounded out the principal cast as Sam and Little Bat. And the audience delivered a standing ovation. Because heartbreak sounds better with a full orchestra.

    Chairs Sylvia Barnes and Jim Trimble, longtime HGO supporters, welcomed guests to Ray C. Fish Plaza, where The Events Company had conjured an Appalachian autumn, complete with sunset hues, lush greenery, and the illusion of a stream. Anyone fancy a dip? Considering how things turned out for Susannah after her ill-fated bathing excursion, perhaps not. You never know who might be watching. Better to plunge a fork into the flourless chocolate torte.

    And while Susannah might have had opinions about mail-order catalogs (if you know, you know), the Houston crowd was having none of that. The dress code was decidedly black tie.

    During dinner, board chair Astley Blair celebrated HGO’s recent Grammy win, while CEO Khori Dastoor reflected on the company’s artistic ambitions. Gaffigan introduced the cast, who received yet another standing O.

    Perhaps Susannah would have fared better had she set her sights beyond Nashville, Asheville, and Knoxville. Houston, after all, knows a thing or two about tall buildings, fancy clothes, and pretty nights. The festivities drew 370 guests and raised $640,000 to support HGO’s mission of bringing opera to Houston’s diverse communities.

    Making a scene were Claire Liu and Joe Greenberg, Patrick Summers, Margaret Alkek Williams, Renu and Suresh Khator, Dian and Harlan Stai, Farida Abjani, François Badoual, Jennifer Bielstein, Jack Bell, Katy and Logan Boatman, Norma and Beto Cardenas, Janet Clark, Louise Chapman, Ambassador Breno Costa, Molly and Jim Crownover, Isabel and Danny David, Mindy and Josh Davidson, Debra Dunn, Mahshid and Rod Foroozan, Sarah and Doug Foshee, Lily and Charles Foster, Mary Foster and Don DeSimone, Marianne and Joe Geagea, Christel and François Good, Janet Gurwitch and Ron Franklin, Celina Hellmund, Gary Hollingsworth and Ken Hyde, Elizabeth and Richard Husseini, Michelle and Doug Huth, Teresa and José Ivo, Sarah and Bryant Lee, Tomikia LeGrande, Kristen and Matthew Loden, Cynthia and Tony Petrello, Irina and Andrey Polunin, Ambassador David Satterfield, Ping Sun and David Leebron, Apurva Thekdi, Ellen and Bob Vladem, and Geraldina and Scott Wise.

    fundraisersgalashouston grand operaperforming-arts
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