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    The New Face of College Cool

    In rodeo debut, Zac Brown Band is a hit with the spring break party crowd

    Michael D. Clark
    Mar 18, 2011 | 6:52 am
    • Zac Brown Band
      Photo by © Michelle Watson/CatchlightGroup.com
    • Zac Brown Band
      Photo by © Michelle Watson/CatchlightGroup.com
    • Zac Brown Band
      Photo by © Michelle Watson/CatchlightGroup.com
    • Zac Brown Band
      Photo by © Michelle Watson/CatchlightGroup.com
    • Zac Brown Band
      Photo by © Michelle Watson/CatchlightGroup.com
    • Zac Brown Band
      Photo by © Michelle Watson/CatchlightGroup.com

    The Zac Brown Band has not quite identified where it fits on the radio dial, but it certainly knows the demographic that's listening: College kids, beer drinkers and anybody who likes to party all night — even if they have to be at work the next day.

    Thursday night Zac Brown & Co., country radio's other next big thing (besides Lady Antebellum), arrived for its inaugural performance on the RodeoHouston stage to prove that you don't have to be a rock star to feed the passions and the bar tabs of those came to RodeoHouston to party for spring break, St. Patrick's Day or whatever other excuse one needs to break loose with a little spring fever. The band's one-hour, 12-song set was the balance to the bombast that Kid Rock and Kiss opened the rodeo spring break celebration with earlier in the week.

    Not content to get labeled as a "country band," "bluegrass band," or "stoner band," the Zac Brown Band instead draws a little from all three standards to make a college kid party soundtrack worthy of Bob Marley and the Steve Miller Band.

    The night's party started surf side with the Jimmy Buffet Nashville-meets-Nassau inspired beach bonfire romp, "Toes," from the group's Grammy nominated, 2008 major label debut, The Foundation. The song is played on country strings but the island vibe exuded makes Kenny Chesney look as traditional as George Strait by comparison.

    With a band packed with above-average guitar, fiddle and mandolin players, this is what Alison Krauss' top-notch band, Union Station, would sound like if Krauss took a vacation. Or perhaps what Robert Earl Keen could evolve to with a little prompting.

    "Knee Deep" from the Zac Brown's Band more recent album, You Get What You Give , followed the same beachcomber formula (on the album the band is joined by Buffet for the song just to hammer the point home).

    In between, Brown led the group through an intricate and lively version of The Charlie Daniel's Band's party anthem, "The Devil Went Down To Georgia," as well their own light-hearted debut top-charting jig, "Chicken Fried." About the only solemn moment of the night was a tribute to our overseas fighting forces on "Free."

    The crowd heard every single that the Zac Brown Band had to offer in their brief three years of stardom. About the only red flag about the song selection was how reliant they were on first album glories at the expense of playing as many You Get What You Give new works. Young acts should always be trying to push the hype forward.

    But during spring break that's just splitting hairs. As far as spring break concerts go, the Zac Brown Band is about as genuine as it gets.

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    Art on the Prairie

    The roots of Lone Star art: William Reaves unearths the Texas modernistlandscape

    Steven Devadanam
    Mar 31, 2011 | 4:40 pm
    • Richard Stout, "Evenings Fall," 1967
    • David Adickes, "Three Men on a Beach," 1953
    • Jack Boynton, "Inland Lights," 1956
    • Emma Richardson Cherry, "Southern Morning," c. 1930

    This month's editorial series, True Grit: Houston Style, has sought to answer to what extent Houston embraces its Texas roots. To investigate how Houston artists have come to terms with their state's landscape, we went to William Reaves Fine Art, a gallery whose mission is to define modernism in Texas.

    "We opened the gallery to convey a story about the evolution of modernism in our state," says the gallery's owner, William Reaves. He pinpoints Houston as the "birthplace" of Texas modernism for the community's willingness to display abstract works in museums and support award-winning artists as early as the 1930s. Artist-teachers like Emma Richardson Cherry and Ella McNeil Davidson had means to travel internationally and cultivated a generation of informed local artists like Robert Preusser and Frank Dolejska in the 1920s and '30s via institutions like the Art League and the Museum of Fine Arts, Houston.

    Reaves notes that much ink has been spilt chronicling the first half of the 20th century in Texas art, but it was not until after World War II that the region received the necessary influx of knowledgeable artists to create an enduring community. Several local artists who stayed in Europe after the war brought back global influences. Paris was briefly home to a creative Texan expat culture, inculcating such minds as Herb Meers and David Adickes, who studied under the lionized Cubist painter Fernand Léger.

    "This sort of French-looking, Texas cubist school that they created when they returned was very different from the bluebonnets people were used to seeing," says Reaves.

    As the 1950s progressed, Houston became a "hotbed" for non-representational art, led by figures like Jack Boynton and Richard Stout (whose work from the era will be on view in an exhibition opening Friday). "A lot of this stuff from the '50s is new again because it's been kind of squirreled away in closets for awhile," says Reaves. "It comes off as fresh because there's a kinship with contemporary artists."

    No doubt that international currents increasingly flowed into the local art mix, but did Houston artists ever completely turn their back on the Texas landscape?

    "My impression is that it's a blend," says the gallery owner, citing Richard Stout as an example of an artist who has studied under other masters and blended that style with an impression of the state. Explains Reaves,

    He paints in an expressionist style and has been informed by a lot of different artists over time. In addition, he was an art professor at UH for 25 years, so he's very aware of what's going on internationally. But Richard is also from Beaumont and his work almost always sees a landscape influence — a lot of coastal plains and rich atmosphere. Yet it is painted in a way that is informed by a lot of important artists from the New York School."

    Similarly, Boynton and McKie Trotter presented work at New York galleries, yet their respective reductive landscapes and abstract expressionist works evince a horizon line evocative of the wide skies and flatness of Texas.

    In truth, the link between Houston artists and their Texas roots is not a black-and-white issue. But to some extent, the answer is embedded in the cadre of works on view at William Reaves Fine Art. More than simply display and distribute artworks, the gallery presents curated thematic exhibitions that are accompanied by robust physical and online catalogues derived from research conducted at the Museum of Fine Arts, Houston's Hirsch Library.

    "The gestalt of what we're trying to do," says Reaves, "is trace a history of Texas art that may have been overlooked, but at its zenith, there's this beautiful, vital modernism."

    The exhibitions Lone Star Modernism: A Celebration of Mid-Century Texas Art and Richard Stout: The Early Years open Friday, with a reception April 9, 5 - 8 p.m. A gallery talk will be held April 30 from 2 - 4 p.m. Both exhibitions are on view through May 7.

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