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    secrets

    A Houston hotel unveils its little-known stash of art, including works byPicasso, Man Ray & Dalí

    Tyler Rudick
    May 24, 2012 | 7:38 am
    • Guy Van den Bulcke, Expectations, 1999, oil on canvas.
    • Pablo Picasso, Guitare Sur un Gueridon, c.1980 print from original 1920 work,edition 3/500.
    • La Colombe d’Or has some artful secrets.
    • Wifredo Lam, El Ultimo Viaje del Buque Fantasma 1, 1976, print, edition 54/99.
    • Earl Staley, Big Bend, date unknown, oil on canvas.
    • Francesco Caraccio, Untitled, 2009, nmixed media on paper.

    Taking its name from the French inn where Henri Matisse and Marc Chagall purportedly settled debts with paintings, La Colombe d'Or on Montrose Boulevard opened in the early 1980s with a goal of placing fine food and lodging on equal footing with fine art.

    Housed within the 1923 mansion of oil baron W.W. Fondren, the boutique hotel has amassed an impressive art collection throughout the decades, displaying work from some of the biggest figures in 20th century art thanks to owner and collector Steve Zimmerman.

    After receiving his law degree, the New Orleans-raised hotelier relocated to the Montrose area in the mid 1960s at a time when Dominique de Menil oversaw the art departments at St. Thomas University and (from 1969) at Rice.

     

    On the first floor alone, a Man Ray print hangs inside the bar while a massive abstract work by Houston a rtist Dorothy Hood covers a full wall of the hotel lobby.

    "Back then, a girlfriend of mine worked for Mrs. de Menil, while I was teaching political science at St. Thomas," Zimmerman told CultureMap during a lunch at the hotel's popular French restaurant Cinq. "At the time, if it didn't come from Tijuana on black velvet, I didn't think it was art."

    Before long, the young couple would find themselves at parties with Andy Warhol and Max Ernst.

    "I didn't want to seem like an idiot, so I started sitting in on art courses at St. Thomas and then at Rice with Bill Camfield," Zimmerman recalled, noting that classes were taught by some of the city's leading artists like Jack Boynton and John Alexander. "Next thing I knew, I was hooked and started buying art."

    Walking through the La Colombe d'Or, guests will see that Zimmerman's interests tend to lean towards European modernists like Picasso and Braque, with occasional canvases from noted Texas artists such as Earl Staley. On the first floor alone, a Man Ray print hangs inside the bar while a massive abstract work by Houston artist Dorothy Hood covers a full wall of the hotel lobby.

    On the third floor, Zimmerman has operated a dedicated art gallery since 2003, selling canvases and works on paper by masters like Salvador Dalí and Wifredo Lam to a small-but-devoted circle of area collectors.

    Under the newly appointed directorship of Roxana Kouros, the La Colombe d'Or Art Gallery is expanding its outreach with a new exhibit highlighting works by the gallery's current stable of living European artists, including Francesco Caraccio, Guy Van den Bulcke and Adrien Moroni. A selection of rare prints from the estate of Pablo Picasso also will be displayed.

     On view through June 23, Selected Works from the La Colombe d’Or Collection opens with a special reception at La Colombe d’Or (3410 Montrose Boulevard) from 6 to 9 p.m Thursday.

    unspecified
    news/entertainment

    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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