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    Warhol or The Beast?

    The art by the sea: Galleries of wonder dot the Texas Gulf Coast from Rockportto Beaumont

    Steven Devadanam
    May 31, 2010 | 7:35 am
    • Jesus Bautista Moroles, "Lighthouse Fountain," 2002
    • John Alexander, "The Beast, Arnhem Land, Northern Australia," 2001 (detail)
    • The Fulton Mansion in Rockport
    • Stark Museum of Art in Orange, Texas
    • Collage from the Museum of the Gulf Coast's Robert Rauschenberg Gallery
    • A portrait of Princess Caroline of Monaco in "Being Andy Warhol," on view June13-Aug. 15 at the Museum of the Gulf Coast in Port Arthur

    Coastal waters have long been incubators of artists' enclaves. And although the Texas Gulf Coast is no French Riviera, the area still brings a lot to the table. This summer, take the plunge and navigate the waters of these art communities.

    Rockport

    Named one of the "Top Ten Art Colonies" in the United States by Coastal Living Magazine, Rockport is less than a three-and-a--half-hour drive away, but offers an authenticity and natural beauty that makes it feel much farther. Aransas County has been an art colony since the late 1800s, and in 1948, the Fulton School of Painting was founded. More than 15 galleries dot the town's grid, which is just enough to fill a weekend getaway. On July 3 and 4, the Rockport Center for the Arts is host to the 41st Annual Art Festival, featuring over 120 artists, as well as live music.

    The center boasts a seaside sculpture garden — don't miss the work of National Medal of Arts Award Recipient and Rockport resident, Jesus Moroles.

    If you've got a flair for historic architecture and the decorative arts, take a turn by the Fulton Mansion, a restored mansard roof villa dating to 1877. Family portraits, gas lamps and starfish collections offer insight on Gilded Age life on the Gulf. Stroll around the majestic, windswept oaks dotting the property. The crashing waves of a nearby beach will be waiting for you when you're finished.

    Orange

    At the Stark Museum of Art, paintings, sculpture and prints from the 19th and 20th centuries highlight the stunning land, dramatic people and diverse wildlife of the American West. The earthy collection makes a thoughtful juxtaposition to the clean lines of architect Ernesto G. Liebrecht's design. The current temporary exhibition, "Blooms: Floral Art in the Stark Collections" is unapologetically pretty, featuring a collection of paintings so earnest that Houston art spaces would never dare to display them.

    Of a higher pedigree are works by naturalist artist John James Audubon, housed in the permanent collection galleries.

    Port Arthur

    A landmark in the Golden Triangle, the Museum of the Gulf Coast spotlights the rich array of talent across the plain. A highlight is the Robert Rauschenberg Gallery, containing 21 works by the combine-obsessed artist. This collection underscores the tumultuous state of pop culture in 1960s America, with images of Martin Luther King, Jr., the Vietnam War, Janis Joplin and J.F.K.

    The gallery is unique for its display of works created between 1985 and 1991 — long after the reign of Pop Art — called Rauschenberg's "Overseas Cultural Interchange," with each work focussing on a different nation, from Cuba to Germany to Malaysia. Of special interest to Houstonians is the display of posters the artist designed for the Houston Grand Opera.

    Opening June 13, the exhibition "Being Andy Warhol" presents a series of photographs taken by the pop art prince during the 1970s and 1980s. The collection illustrates the artist's preoccupation with fame, his use of the camera both as a social equalizer and social diary and his construction of identity as a commodity. These 18 black-and-white photographs lend a glimpse into the elusive artist's public life, his social circle and the artistic phenomenon he curated.

    The June 13 opening will be accompanied by a screening of the 2002 documentary Andy Warhol: The Complete Picture at 2 p.m. The exhibition remains on view through August 15.

    Beaumont

    It's more than refineries and a pitstop on the way to Louisiana border casinos. As the current exhibition of Beaumont-born John Alexander at Houston's McClain Gallery may attest, the region implies a singular mystique deriving from its swampy landscape and heavy industry. This summer, the Art Museum of Southeast Texas on Main Street features the temporary exhibition, "Rusty Scruby: Playing in the Sand." Scruby's sculptural installations meditate on life by the sea, informed by his childhood on Kwajalein Island, a secret U.S. military base in the middle of the South Pacific, and now his studio in Beaumont.

    The museum's permanent collection is also worth a gander. Don't leave the premise without staring Alexander's The Beast in the eye.

    Craving something off the beaten path? Underground art enthusiasts should make the short drive north of the city to the Ice House Museum and Cultural Center in Silsbee. The galleries there offer a mix of fringe craft art and travelling exhibitions by contemporary artists. In August, the Ice House will hold its annual "Piney Woods Artist Competition," which will be judged this year by Alexis McCarthy, director of the Beaumont Art League.

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    Movie Review

    Twin sisters set out for revenge in Tarantino-esque film 'Is God Is'

    Alex Bentley
    May 15, 2026 | 10:00 am
    Kara Young and Mallori Johnson in Is God Is
    Photo by Patti Perret
    Kara Young and Mallori Johnson in Is God Is.

    The revenge story is one of the most enduring in all of cinema as it can be adapted to multiple different genres. It most naturally fits in the action/thriller genre, but comedies, dramas, Westerns, and more have made good use of characters seeking revenge. The new film Is God Is demonstrates that malleability by detailing an intensely personal story that turns into something bigger.

    Twins Racine (Kara Young) and Anaia (Mallori Johnson) have lived a difficult life, going in and out of foster care and forced to endure stares and taunts because each bears burn scars from a childhood attack. Racine, whose scars are “only” on her left arm, has developed into the protector of Anaia, who suffered burns over much of her face.

    An unexpected call from their mother, Ruby (Vivica A. Fox), who was burned almost beyond recognition in the attack, gives them a purpose: Seeking revenge on the man who ruined their lives. Setting out in a barely working car and with only a small amount of direction, the sisters attempt to fulfill the mission without losing their souls.

    Written and directed by first-time feature filmmaker Aleasha Harris, the film may remind some viewers of Quentin Tarantino’s Kill Bill, and not just because Fox has small roles in both films. Harris has a knack for dialogue, especially between the twins, that ably gets across the story exposition and entertains at the same time. There are many instances where she has the sisters hold silent conversations told on screen via subtitles to convey twin-speak, a method that deepens their connection and draws the viewer in.

    Harris also has her characters engage in the type of shocking violence that Tarantino has used to great effect. The difference here, though, is that even though the story is heightened to a certain degree, the egregious nature of the crime perpetrated upon the girls and their mother makes the whole thing feel bracingly real. This revenge plot is not meant to merely entertain; it’s designed to put the audience in Racine and Anaia’s shoes and fully embrace the call for justice.

    There are a few times when the lack of experience by Harris shows up, especially in the climactic sequence where the stunt work could have used some more precision. But overall, it’s a self-assured filmmaking debut for the playwright-turned-director, who’s adapted her own play with a richness and depth that is not often found from someone stepping behind the camera for the first time.

    Young and Johnson don’t especially look alike, but they embody the essence of twin sisters, and it’s their chemistry together that makes the story as impactful as it is. They’re joined by other strong female performances by Fox, Erika Alexander, and Janelle Monáe, each of whom brings a different vibe. And anyone who loves This is Us or Paradise should prepare themselves for a completely different kind of role for Sterling K. Brown.

    Is God Is uses a variety of inspirations for its storytelling, but in the end it becomes its own thing. The filmmaking world can always stand to have another strong Black voice, and Harris has made an auspicious debut, one that should have cinephiles wondering what she’ll do next.

    ---

    Is God Is opens in theaters on May 15.

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