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    Musicians who make art

    Texas-based musicians explore their visual side at Art Car Museum show

    Chris Becker
    May 8, 2011 | 2:22 pm
    • Ken Little, "Black Jacket Moose," mixed media, 2007
      Photo by Tim Gonzalez
    • Joe Ely, "Jail Dream Apocalypse" from the "Jail Series," early digital medium,circa 1991
      Photo by Tim Gonzalez
    • James Cobb, "Clare" from the "Our Children Series," light-jet print, 2000
      Photo by Tim Gonzalez
    • Kerry Awn, "Felix," acrylic on canvas, 2009
      Photo by Tim Gonzalez

    Musicians are visual people, attuned to their physical appearance, especially in a live performance, and meticulous with the iconography that graces everything from the humble handbill stapled to a telephone pole to insanely costly music videos. Musicians are also great observers and they see the world from a unique perspective.

    This visual sensibility is often manifested on stage, with costumes, make-up and props, or in the descriptive lyrics of a classic song. The Art Car Museum’s current show Musicians Who Make Art presents works by musicians who also explore and reveal their “visual intelligence” in the forms of painting, sculpture, and installation art.

    Guest curator Melissa E. Noble has assembled an incredibly diverse collection of works by Texas-based musicians and artists who, it may surprise you, also play music. 38 individuals are represented, and there are recurring motifs connecting some of the pieces on display.

    Creative use of recycled materials appears in many works. Carley Wolf’s packaging tape sculptures “Ghost Wolves” hang suspended from the ceiling. Ken Little’s totemic “Black Jacket Moose” consists of a moose head draped in a leather jacket and a collection of athletic foot wear. And Gary Bennett’s elegantly crafted and wonderfully rich-sounding “Washtub Bass” is built from found objects, mahogany, and a washtub. Bennett was happy to let opening night visitors play the instrument, and it sounded great.

    Jessica DeCuir pillaged the classic artwork of record albums by King Crimson, Blondie, and the Rolling Stones to create eye-popping collages. And Al Souza skillfully cut and time stretched an aforementioned humble handbill into the beautiful vertical collage “Tribune Showprint #3.” Taking a discarded item of little monetary value and transforming it into a work of art is one of many magical things musicians do.

    Reliquaries, altars, and mementos abound in the show. A sense that time is passing, “waiting in the wings…” (to quote musician artist David Bowie) is palpable. The Art Car Museum has never been shy about paying tribute to its extended family of artists, mechanics, and characters, especially when they’ve passed from this world. A room serving as an installation and tribute to art car artist and drummer Steve “Smitty” Schmitz is a world of its own, with photos of his and musician artist Rock Romano’s band Dr. Rockit & The Sisters of Mercy bringing some levity the atmosphere.

    Many opening night visitors had their kids in tow, but few works included images of children, although the ones that did were striking. Janice Rubin’s photograph “Ogoni Grandmother” is a beautiful, very alive portrait of a Grandmother and grandson.

    James Cobb’s triptych of light jet prints grafts incredibly elaborate phantasmagoric tattoo artwork onto the bodies of three young children. The children, each identified by their first name, are shamanistic in their appearance, like members of a (musical?) tribe where power and protection comes from tattoos. But there is something unnerving about approaching and studying these three prints, given the age of the subjects and contemporary associations with tattoo art.

    I’ve described only a small cross section of the works on display. Musicians Who Make Art is up until Aug. 7 and both visual artists and musicians will enjoy it. I plan to return to find out more about the musical background of some of the artists. A complete list can be found on the Art Car Museum website.

    ---------

    On May 19, The Art Car Museum presents a farewell party for Steve Schmitz with a musical performance by his former band Dr. Rockit (aka Rock Romano, also represented in Musicians Who Make Art) & The Sisters of Mercy.

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    welcome home, wes

    Wes Anderson's Houston homecoming supports historic theater restoration

    Craig D. Lindsey
    Jul 20, 2026 | 12:30 pm
    Wes Anderson's Houston homecoming supports historic theater restoration

    A fancy, eccentric-looking crowd showed up for the Wes Anderson Homecoming Soirée, held on Friday, July 17, at the Hobby Center for the Performing Arts’s Zilkha Hall.

    Fans of the Houston-born, Oscar-winning auteur paid hundreds of dollars to attend this benefit event. Guys dressed up like characters from The Royal Tenenbaums. Others wore red skull caps and low-top Adidas, like the characters from The Life Aquatic with Steve Zissou. Some people working the event even wore “Lobby Boy” hats, looking like the bellboy character from The Grand Budapest Hotel.

    The people gathered for two reasons: 1) to get a chance to see Anderson in person; and 2) to raise money to renovate and restore the Garden Oaks Theater, a project spearheaded by local nonprofit Arthouse Houston. Top-tier “Founders Experience” ticketholders got a chance to meet Anderson onstage for pics. The St. John's School alum also received a proclamation from Mayor John Whitmire declaring it “Wes Anderson Day.”

    After that, he and actor/fellow SJS alum Michael Maggart (who has appeared in several Anderson films) held a half-hour discussion where they reminisced about making Rushmore here in Houston, Anderson’s days working at the Bookstop on W. Alabama (now a Trader Joe’s), and how he and frequent collaborator Owen Wilson used to sneak into the River Oaks Theatre. (It involved pretending to lose a pair of glasses.)

    Of course, the conversation shifted to Anderson coming back home to support the Garden Oaks project. “I always say you can't build an old building,” Anderson said. “First of all, I mean, a beautiful old place has history, and has people's experiences tied into it, and it has stories involved in it. And I think an old cinema — these things are kind of endangered all over the world, and it's not just an architectural thing. It's not even just a community thing. It's a sort of delivery system for something that’s, to me, deeply important to our country.

    “It’s one thing we can access these things on all these devices,” he continued. “It's a different thing when you go to a place that's designed to help you share the experience of a movie together. It's such a powerful art form. And, anyway, for me, it's worth making a bit of an effort to try to save a place like the Garden Oaks.”

    After the convo, he introduced the quintet of films he curated for the event. (Unfortunately the DCP file for his 2007 short Hotel Chevalier had some technical difficulties and was cut short.) “We wanted to do a screening here, and I don't have a new movie to show,” he said. “I don't have something hot off the presses. So, I thought I'd put together a little something that just was different from what anybody else will see. So it's a sort of mixture… This is just for Texas, this little collection.”

    He eventually left the stage, leaving Arthouse Houston co-founder/director Maureen McNamara and Houston Public Media host Ernie Manouse to auction off perks & gifts and encourage the audience in helping revive another legendary, local movie palace. Among other items, attendees bid for treasures such as a special John Waters backstage VIP experience at his upcoming Christmas Show, dinner with John Cameron Mitchell, and a rare set of photo portraits of a young Anderson and friends, circa Bottle Rocket. Others paid $5,000 for select seats in the future theater and $5,000 to restore one foot of the venue's neon sign.

    Wes Anderson homecoming soiree

    Photo by Alan Nguyen

    Mayor John Whitmire declared Friday as Wes Anderson day in the director's honor.

    So far, the effort has raised approximately $1.3 million of the $4 million required to begin the renovation project. The organization needs to raise $4 million by July 30 for the project to move forward. Those interested in securing naming rights will find more information here.

    “River Oaks has 245 seats,” McNamara informed the crowd. “The Garden has over 700, and that is a place that we don't have in Houston. We have a need for that, for premieres, for performances in your life, for music, for a dynamic learning & exhibition space… So, we're building new on the shoulders of our history. I hope you guys will join us, and we need people to join us in a big way today.”

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