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    Exhibits galore from Friday through April 25

    FotoFest brings the world of photography to Houston

    Joseph Campana
    Mar 11, 2010 | 11:58 am
    • Todd Hido, #8614 from the series "A Road Divided," 2009, from the FotoFest 2010Biennial exhibition "Whatever was Splendid: New American Photographs"
    • Fotofest banner from a previous biennial exhibition
    • Augusta Wood, "It Turns into Nothing on His Tongue," detail, 2005, from theFotoFest 2010 Biennial exhibition "Assembly: Eight Emerging Artists fromSouthern California"

    In the art world, Venice has its legendary Biennale, New York has the Whitney Biennial, and Houston has FotoFest. Every two years the Bayou City showcases the state of the art of photography.

    For the first time, the festival will focus on contemporary U.S. photography through a dizzying array of exhibitions, films, receptions, curatorial dialogues, workshops, and portfolio reviews. With countless local arts organizations chiming in for maximum exposure, Fotofest promises to keep Houston picture perfect this spring.

    Founded in 1986, Fotofest has presented 13 installments of the only photography biennial in the world. The calendar of events stretches from Friday through April 25 and encompasses several venues. Five main exhibits comprise the core of the biennial, but a host of satellite events will keep Houstonians dining out on images on a weekly basis.

    Four of the main exhibits are organized by distinguished curators from a variety of national collections. The fifth exhibit, and perhaps most unique to FotoFest, “Discoveries of the Meeting Place,” displays the work of 10 artists culled from submissions to the previous biennial's portfolio review — the largest such review in the world.

    Registrants show their work and receive feedback from an international assembly of editors, curators, gallery owners and publishers. If you’ve been longing for your 15 minutes of fame make time for the Meeting Place: According to the Web site, slots are still available.

    But you don’t have to be a starving artist to take part in FotoFest. Any Houstonian can navigate this vast sea of pictures without drowning in pixels or processing chemicals.

    Why not start with a party? FotoFest opens with a bang Friday at its near-downtown headquarters with an opening event highlighting one of the central shows, “Whatever was Splendid: New American Photographs,” curated by Aaron Schuman. Schuman’s show traces the legacy of that genius of the everyday, Walker Evans.

    “The striking similarities between Evans’s time and our own have become all too clear,” Schuman says. “Bearing this in mind, I began to investigate his profound influence on how the United States is still responded to, regarded, recognized and represented within photography today.”

    You can start the revelries earlier that night with a reception for the opening of photographer Allison Hunter’s video installation “Zoosphere” at DiverseWorks. Hunter has spent years photographically documenting animals in zoos and abstracting these images to produce haunting meditations on the place of the animal in contemporary life. “Zoosphere” promises an arresting journey through a maze of galleries filled with life-sized projections of animals trumpeting, crying, and calling, all the while devoid of sound.

    FotoFest manages to include something for nearly everyone — casual observers, budding photographers, and even children. After the conclusion of the festival, FotoFence takes off from May 9-19. FotoFence is an outgrowth of the Literacy through Photography project, which trains HISD teachers to bring photography and writing into the classroom. See the results of these efforts at the Fotofest headquarters as elementary, middle, and high school students exhibit their work.

    And if the idea of seeing the world through the eyes of children appeals, take in the annual “Eye on Third Ward” photo show at the Museum of Fine Arts, Houston through May 23. Now in its 15th year, the show features photographs taken by students at Jack Yates High School as they document and map this historic district in their day-to-day travels.

    In conjunction with FotoFest, the MFAH has mounted a massive survey of its renowned photography collection. For Ruptures and Continuities, which runs through May 9, assistant curator Yasufumi Nakamori chose from the nearly 20,000 works that photography curator Anne Tucker has spent years assembling. It's a fascinating and gorgeously laid-out exhibit. This retrospective of post-1960s photography provides a perfect context for the revelations of FotoFest. It includes Houston’s own Mark Bagge’s Polaroid documentation of media coverage flickering across television screens as U.S. soldiers descended upon Iraq.

    While at the museum, don't forget to check out Andy Warhol, Cindy Sherman and other artists who taught us how simultaneously real and unreal photographic images can be. These luminaries inspired what looks to be one of the most intriguing of FotoFest’s offerings: MediaNation. Curated by Gilbert Vicario of the Des Moines Art Center, you’ll find photography transfigured by Twitter, YouTube, Xtube, MySpace, and the intimations of a digital of seeing ourselves and each other in an utterly new way.

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    Movie Review

    New Superman movie forges into the future while honoring the past

    Alex Bentley
    Jul 11, 2025 | 3:30 pm
    David Corenswet in Superman
    Photo by Jessica Miglio
    David Corenswet in Superman.

    When the character of Superman was invented in 1938, it was perhaps easier to see the world in good and bad terms. Fascism was already on the rise in Germany under Adolf Hitler, and the idea of an all-powerful superhero who stood up for people in need was a welcome one. In the nearly 90 years since, though, the world and the character have undergone multiple evolutions, and the thought of someone who is purely good is often met with cynicism or worse.

    The new Superman, written and directed by James Gunn, puts the superhero (or metahuman, as the film calls him and similar creatures) squarely in the midst of the modern world, with geopolitical conflicts, mega-corporations, and social media all combining to make the altruism of Superman/Clark Kent (David Corenswet) questionable. That skepticism even extends to his coworker/girlfriend Lois Lane (Rachel Brosnahan), whose knowledge of his exploits puts her in a tricky position personally and professionally.

    Lex Luthor (Nicholas Hoult) is out to dominate the world and take down Superman, with his eponymous corporation and vast group of underlings dedicated to doing both. Superman is generally a one-man fighting crew, but he’s occasionally aided by a group calling themselves the Justice Gang, comprised of heroes many have never heard of like Guy Gardner (Nathan Fillion), a version of Green Lantern; Hawkgirl (Isabela Merced), a flying metahuman; and Mr. Terrific (Edi Gathegi), who knows all kinds of technology.

    One of the best things about this new version of Superman is that it mostly dispenses with introductions, putting the audience in a world where Superman is already a well-known quantity who’s adored by many and hated by some. Gunn has used his new position as co-CEO of DC Studios to honor the past of the hero and take him into the future. With the 1978 John Williams theme song echoing throughout and Corenswet giving off Christopher Reeve vibes, it’s clear Gunn wants audiences to feel nostalgia while still getting something new.

    He also appears to want viewers to fight against the negativity that the modern world can bring. The plot involves manipulation of the public, usually at the hands of Luthor, through bombastic talk shows, political theater, and social media, the latter of which — in a great joke — comes to involve hundreds of typing monkeys. The film could be read as a rebuttal of many real-world ills as, despite Luthor’s machinations, many choose to continue to believe in the goodness of Superman.

    There is a lot going on in the film, but somehow it never comes off as overly complicated. Superman’s relationship with Lois Lane and Luthor’s attempts at taking him down are given the most prominence, with everything else supporting those two main things. The Justice Gang is a fun addition, with Mr. Terrific becoming the breakout hero of the group. The addition of the (CGI) dog Krypto provides levity, poignant moments, and unexpectedly great action scenes. The only part that gets somewhat short shrift is the crew of The Daily Planet, with everyone besides Lois and Jimmy Olsen (Skyler Gisondo) getting little more than face time.

    Being the new Superman is a lot to live up to, but Corenswet is completely up to the job. He, like Reeve, plays the character as someone who is earnest but not naive, a quality that comes through even when he’s in the middle of fight scenes. Brosnahan is also fantastic, providing a nice balance to the relationship while also proving the character’s own worth. Hoult makes for a great new version of Luthor, and Gathegi nearly makes the case that Mr. Terrific should get a starring film of his own.

    Just as he did with the Guardians of the Galaxy trilogy, Gunn has shown that success can be found through making characters people want to see. Not everyone in this Superman will be familiar to viewers, but in the end a group of people working together toward a goal that serves the common good is one worth watching and cheering for.

    ---

    Superman is now playing in theaters.

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