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    An Artful Goodbye

    The museums conference's Houston swan song: Smoke in the hall & Marzio searchbring buzz

    Steven Devadanam
    May 25, 2011 | 6:56 pm
    • Jane Weiner at a table when she's not wowing a conference crowd by putting out acigarette in raw meat.
      Photo by Simon Gentry
    • The American Association of Museums Meeting and MuseumExpo took the world'scultural institutions by storm.
    • Gwen Goffe, interim director of the MFAH, led a talk on trends in philanthropyalongside Courtney Sarofim.
      Photo by Jenny Antill
    • Hope Stone director Jane Weiner wowed the AAM crowd with her avant-gardeperformance.
      Photo by Simon Gentry

    The George R. Brown Convention Center has played host to endless sessions and think tanks about the future of the world's cultural institutions since Sunday. It's all been part of the American Association of Museums Annual Meeting and MuseumExpo, which has unleashed more than 5,000 museum professionals upon the Bayou City.

    After the stream of inspired seminars — and a healthy dose of enlightened partying — the city's cultural purveyors are rather pleased with the conference's impact.

    "I've gotten so many great ideas," said Apama Mackey of the nascent Museum of Drawing (MOD) as she exited a panel about presenting site-specific electronic art in a public environment (think the Mitchell Center for the Art's recent Tex Hex debut). That Houston-heavy discussion included the Aurora Picture Show's director, Delicia Harvey, the Mitchell Center's Bree Edwards, Aurora curator Mary Magsamen, and the prodigal microcinema high priestess (and now, associate curator at Southampton, New York's Parrish Museum), Andrea Grover.

    "It was nice to show that off, because it's all in our own backyard," Mackey said.

    "It's a beautiful thing," echoed The Orange Show's Elaine Dillard.

    Both museum folk were eager to impart lessons from the rapid-fire session, "75 Winning Ideas in 75 Minutes: Worst, Best and Next!" Rather than focusing on thick theory, the session offered quick tips for smart museum management.

    "Like saying, 'thank you,' — a lot. Easy, easy things," Dillard said.

    Another lesson? Using Groupon for tickets is a no-no, as are excessive acronyms. "I love my acronym though," said Mackey of the sleek MOD before absconding with Dillard in tow to a panel on technology and teamwork.

    The AAM conference offered Houstonians an opportunity to flaunt the city's cultural splendors, be it art, nature, science, music or dance. Wednesday's general session included a Hope Stone Dance Company bonanza.

    "There were these three women in cocktail dresses," Bill Arning, director of the Contemporary Arts Museum Houston, said, "and at one point, Jane Weiner, the artistic director, just started smoking and putting out her cigarette in raw meat. To see someone smoke inside the conference hall was amazing. It was the most revolutionary thing I'd seen in days."

    The Hope Stone gig was followed by a riveting performance by the Texas Southern University Jazz Ensemble and Steppers. The session also included a keynote address by Neil deGrasse Tyson and the presentation of a lifetime achievement award to Dallas Museum of Art director Bonnie Pitman.

    With all of the museum talk, one paramount question loomed over the entire conference: Who will replace the lionized, late Museum of Fine Arts, Houston director Peter Marzio?

    Despite the wealth of museum practice discourse, conclusions remained out of reach. "There are a lot of people here who knew Peter and have come up to me and expressed their sadness over the loss," related interim director Gwen Goffe. "I knew Peter for so many years, but I have only begun to know everyone he knew."

    When asked whether she was eyeing visiting museum professionals for the open position, she confirmed that the matter is out of her hands, and the placement will be determined by the confirmed search committee. The decision will be directed by committee chair Rich Kinder, a life trustee of the MFAH and a close friend of Marzio. Also on the small selection committee are chairman of the Board of Trustees Cornelia Long, Brad Bucher, Anne Duncan, William Mathis and Michael Zilkha.

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    Movie Review

    Anne Hathaway's busy 2026 continues with meta-thriller Verity

    Alex Bentley
    Oct 2, 2026 | 3:00 pm
    Anne Hathaway in Verity
    Photo by Alisha Wetherill
    Anne Hathaway in Verity.

    Anne Hathaway has been inescapable for movie fans in 2026, starring in no fewer than five different movies across multiple genres, including Mother Mary, The Devil Wears Prada 2, The Odyssey, and The End of Oak Street. The actor (who’s pregnant and about to take a well-earned break) is wrapping up her supremely busy year with the psychological thriller, Verity.

    Hathaway plays the title character, Verity Crawford, a hugely successful author who writes beach read thrillers, often from the perspective of the villain. An unpublicized car accident renders her immobile and mute, and her husband, Jeremy (Josh Hartnett), and agents make the decision to recruit someone to ghostwrite her next book in order to continue her legacy.

    The person hired for the job is Lowen Ashleigh (Dakota Johnson), an aspiring author whose books mostly get ignored. She’s eager to take on the project, but the reality of Verity’s situation throws her for a loop. When she discovers a secret file that seems to be Verity admitting to some very bad things, Lowen starts to spin even more, imagining situations that may not actually be happening.

    Directed by Michael Showalter and adapted by Nick Antosca from the book by Colleen Hoover, the film initially has a nice rhythm to it, setting up the three main characters well and building up tension. Though current day Verity can’t speak or move, the film gets to the heart of her through old interviews Lowen watches to get to know her mind better. Using that footage and other small moments at the house, a type of rivalry develops between the two characters.

    Strangely, though, Showalter and Antosca fail to capitalize on the early momentum. The story stagnates about halfway through the movie and never delivers on what it seems to be promising. Whether they’re too true to Hoover’s original story or change things too much is difficult to tell for those who haven’t read the book, but either way, the result is a big tease with not much in the way of a payoff.

    What’s most disappointing about the film is its inability to decide on a tone. There are some points where it feels like over-the-top, campy fun, and others where it seems like the filmmakers are going for a straight-up horror vibe. The down-the-middle approach that they land on serves neither the story nor the characters well. Moments that should be full of suspense or could get laughs often fall flat because of the indecisiveness of the filmmakers.

    Due to her character’s affliction, Hathaway is reduced to a supporting role in the film, but she gets by on presence alone and still has a few scenes where she demonstrates her star power. Johnson delivers a good performance despite her typical lack of emotion. Like many of her roles, it’s her body that seems to get more attention than her acting. Hartnett is on a roll thanks to recent roles in Oppenheimer and Trap, and he puts in solid work here, as well.

    Verity has the bones of a tense thriller, but it’s filled in with a bunch of questionable story beats that don’t prove as satisfying as the premise. The meta-plot of the authors of thrillers becoming involved in a thriller themselves should have been juicy and full of great twists, but ultimately it’s as catatonic as Verity herself.

    ---

    Verity is now playing in theaters.

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